The Jerusalem Post Magazine , 1983, Israel, English

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a rustic villa

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at the greatest location:
Neve Haharon, Zichron Yaacov

Beauty Spot

Neve Habaron is a dovolopod neighbourhood in
Zichton Ytiiicov. a long established town with all
services

Zichron Yaacov is 170 m. above sea level. M is built on
the Carmel range, opposite the beautiful Tan turn
beach Tel Aviv is 50 minutes away: Haifa. 25 minutos.
Clear mountain air. pleasant sea breezes, natural forest
arid wild flowers, Hanadiv Park, and the Carmel
forests...

Ideal Architectural Planning
Expansion Possibilities

Choose between a rustic villa and a somi -dot ached
cottage The modem, spacious villas are buitt on two
levels, with an area of 1 19 sq.m.: two bedrooms, spare
room, (wo lavatories, luxurious living room, and large
dinette. The garden is bigger than anything you may
have seen in other projects, because the villa is built on
an 800 sq.m. plot.

Purchasers of the villas receive an approved plan for
the construction of two additional rooms; the
foundations are already in place. You can start
construction immediately, or whenever you wish in the
future

The cottages have an area of 117 sq.m.; thoy are built
on three levels: spacious, well lighted entrance, hell,
dinette and living room. The basement is a shelter.
On the top floor Bre 3 bedrooms and the bathroom
complex. The cottages ere built on 400 sq.m, plots,
and there is private parking. The entrance drive Ib
G ranolite paved, and there are from and back gardens.

Study, Sport and Entertainment.

All In the Neighbourhood

When you move in, you will be joining an established
community, Zichron Yaacov, with all modern services.
No waiting until the settlement is developed;'
everything Is already there end in operation; education
and health services, sports clubs, societies, art
activities, public services, and institutions...

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A Young Neighbourhood
Wonderful Atmosphere

The environment is ideal for bringing up children and
enjoying family life. Relaxed atmosphere, large gardens
blending into broad vlstaB, and the nearness of
community services — these are the things that
provide a rich environment for children, and minimize
parents’ worries.

Good to Live —

Easy to Buy

The right time) Bar-Mez and Mishab, the companies
that have built the neighbourhood, will meet you half
way with especially convenient purchase terms that
will help you achieve a life's dream — today.

A . rustic villa without mortgaging yourself for lire,
without having to sell your present home and move
out. under .pressure of time.

Purchase Terms —
by April 5, 1983 only

* $3,000 on signing the letter of intent

★ 10% on signing agreement

* The balance In four months from signing the
agreement — 7 convenient payments, up to the
time of occupation.

* Other possibilities: start payments after moving in.
or one year after signing agreement

* Mortgage available

Bring the Family

to Seethe Neighbourhood

Bring the family; make a trip

Come and 9ee Neve Habaron — .you will all enjoy

visiting this wonderful place. And it could be the start

of a great new life. , ,

See you at
Neve Habaron

ZICHRON

YAACOV

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In this issue

On if iv eawi. Henrietta Szold in the
curly IV40x. photographed by Nahum
(Tim l (jidal.

ISRAELI COOKING
ON A BUDGET
Sybil Zimmerman, ed.

Hundreds of recipes in over 300 Illustrated
pages Simple recipes for delicious,
inexpensive meals were collected from 28
contributors, including Sabres and new
immigrants. This popular cookbook is now
in its third edition. Compiled and edited by
Sybil Zimmerman, author at Wonders of e
Wonder Pot.

Published by The Jerusalem Post. 304
pages, paperback, illustrated end indexed.

IS 150

ft

RL

W\i

7 % V

WITH PREJUDICE
By Alex Berlyne

Alex Berlyne's mind Is either a fount of
erudition or a rubbish dump, depending on
your point of view. In the ten years "With
Prejudice" has been appearing in The
Jerusalem Post, the column has dealt with
such abstruse topics as Anel (a language
spoken In BurmB and Manipur), the way
. Shakespeare's puns crop up in comic
postcards four esntunes later, and the age-
old question of "Who Is e Sioux?" With
tongue planted firmly in cheek. Berlyne
lovingly eesails nearly every institution
hallowed by man.

Published by Carta and The Jerusalem
Post. 258 pages, hardcover. Illustrated.
18 872

HOW TO GET WHAT YOU
WANT IN NINE LANGUAGES
By Lixl Darvall

This handy phrase book gives travellers the
appropriate translations into Hebrew.
English. German. French. Itslien. Greek. .
Japanese, Spanish and Dutch. Slim
enough to be conveniently carried in a
pocket'.

Published by Carla and The Jerusalem •
Past. ,150 pages, paperback. Illustrated.
IB 211

Jeff Hal per describes how Jerusalem
became a city. 4

Judy Slegel-Itzkovlch meets Viva Sivan,

(he first religious woman tn serve on
the Jerusalem City Council. 6

D’vora Hen Shaul hears Tim Cldal's
stories about Henrietta Szold. 8

Pearl ShetTy Gefen visits with actor John
Mills. 9

Marsha Pomerantz sits in on analysis of
A.B. Yehoshua's latest novel. ID

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TV-Radio Schedules
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' FRIDAY, fylARCH 11, 1983

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Bridge

ISRAEL GARDENING
ENCYCLOPEDIA
By Walter Frankl

Comprohonsive. month -hy-tnonlh
insimciiO'is for planting everything ih.it
i)iow!i hi UmmIi gardens homes onii
wimlnvv Ihjxos Foi (|ition-tliumbecl wizards
ami iogul.ii. garden -vanoiy plant lovais.
this tiobisoiluig buuk is n mu si
Pulilishod hy Coda and The Jerusalem
Pi>8! 258 puyos laminated hardcover,
illustrated

18 764

GROWING UP THIN
By Judle Oron

Do you ihmk you're too fat? Too skinny?
Too flai-chestad? Too wide-hipped?
Growing Up Thin can help you learn to
cope with — even love — your body,
including its * impeifectlona " The hook
includes excaipts from interviews with
over 100 women who discuss how they
foal shout their bodies, and how these
feelings affect their lives. Author Judia
Oron offers a simple programme of die!
and exercise to help fight physical
"inflation" and break bad habits at any age
Ms Orem’s weekly "Figure <t Out 1 column
on this subject first appeared m The
Jerusalem Post in 1976.

Published by Carta and The Jerusalem
Post 127 pages, laminated hardcover,
illustrated

IS 464

CARTA'S GUIDE TO EGYPT
S. Ahituv and A. Israel, eds.

Planning a trip to Egypt? This book tells
you where to go. whBl lo sea and what noi
to seel Flight achedulos to and from Ban-
Gunon Airpbrt. restaurant guide, historical
background (including lha history of
Egypt's Jowish community). Helpful hints
include where to lind a kosher restaurant
in Cairo, how much bottled Water lo buy
per day: how to read hieroglyphics: where
to find a direct telephone lino, to Israel. ThB
slim, easy- to-oarry .volum* includes maps,
drawings and dolour photographs.
Published by Carta and The Jerusalem -
post’ 83 pOges, p&pDrback. Illustrated.

IS 241

AT THE beginning of Ihe I9lh cen-
tury Jerusalem was little more then
an overgrown village. Its population
was around 9,000, only slightly
larger than Acre, Gaza, Safed and
Nablus of the time. Despite its for-
midable walls, large areas inside lay
barren or in ruins. Like an ailing
person who discovers his pants have
become baggy, so Jerusalemites, in-
habiting a space that once con-
tained up to 100,000 people, rattled
around within its expanses.

Moslems were the dominant pop-
ulation and they reinforced, both in
concept and lifestyle, Jerusalem's
village character. For them, the
"city" was the site of religious
prayer and study, as well rs ad-
ministration. Except for » larger and
more concentrated population, no
"urban lifestyle" distinguished
townspeople from villagers. Had
Jerusalem not already been there,
and had Islam not encouraged
prayer in a place with n mosque and
permanent market, there would
have been no reason for anyone to
live there. The Holy City, despite its
size ami sanctity, contributed little
then was necessary to the social or
economic life of the countryside.

On the contrary, Moslem
Jerusalemites fully participated in
the life of the wider community out-
side the walls. All had relatives in
the surrounding villages (some with
family ties extending to Damascus
and even Aleppo) with whom they
visited and otherwise kept in touch.
The relationship was symbiotic:
rural Arabs would coine to
Jerusalem Lu sell their produce and
prity. Jerusalemites lied to the vil-
lages in limes of plague, famine or
war. Even the urban elite, collet: -
lively culled the effvnills,
represented branches or rural-based
families. The Husseinis, for exam-
ple, were allied to the powerful
Yamuni clan; its leader. Sheikh
pihnnm Abu-Gosh, controlled the
roads and villages in the entire area
between Rumallah and Bethlehem.

The social structure of Jerusalem
was also village-like — in fact, the
various- quarters, homogeneous,
sell-eonl nined and self-sufficient,
gave Jerusalem the diameter of a
federation of autonomous villages
bound together (more closely than
any of them wanted) by the walls.
To be sure, the diverse populations
interacted with each other, es-
pecially in the public markets. But
the insistence of each community —
Moslem. Jewish and Christian — on
conducting its own affairs and living
according Lo its own traditions,
nude the emergence of a unified
urban Jerusalem culture impossible.
No organization cut across ethnic or
religious lines, no class structure un-
ited members of different com-
munities. As in traditional societies,
groups were ranked (Moslems
dominating, Jews and Christians fol-
lowing) and each one negotiated on
a separate basis with the Turkish
governor when the need arose.

The process of urbanization
. that was to transform Jerusalem
from it .village into a city began with
the Egyptian conquest in 1831 and
dijniinued until the beginning of the
20lh century, fly then life in
Jerusalem was qunlUaiivcIy dif-
f<ere|H Ihnn I n Ihe rural villages, the
city had developed an economy and
political Institutions or its own, ihe
. *Yfi.l|5 had been breached by new
r neighbourhoods, .technology was
. reducing inicr-pommunal dlf*
fore rices (if not dislikes) and
residence on tfio basfcj of clqss whs
. replacing hpmogcricaus.quarters. •

' Three essential changes oUercd
, traditional life In JetUsnlgm' dimhg

olution

city

Jerusalem entered the 19th century as a township and emerged as an
urban centre. JEFF HALPER tells how the city overtook the village.

raSai-swi w'

rr T ; . •

The greatest demographic chunge
occurred in the Jewish community.
Up until the 1830s only u handful of
Ashkenazi Jews had been able to
live in Jerusalem (and then only if
disguised as native Sephurdim)
because of a century-old debt owed
by the followers of Judah He-Hasid
lo Moslem creditors, and passed
down from generation lu generu-
«tinn. Every Ashkenazi apprehended
by the descendants oT those
creditors was held liable for money
owned by u previous generation to
whom he had no connection.

Hoping lo win Jewish support and
the blessings of the European
powers. Mohammed Ali, the Egyp-
tian ruler, cancelled the debt and
permitted Ashkenazis to settle in
Jerusalem. And none to soon, for in
1837 an earthquake virtually level-
led Sufud and heavily damaged
Tiberias, making Jerusalem n
welcome refuge for the Jewish vic-
tims. Moreover, the favourable al-
titude towards Jews encouraged im-
migration both from Europe and
from North Africa. By 1840 the
Jewish population «r Jerusalem
stood at about 5,000. double what it
had been at the start of the century,,
and Jews became the largest local
community.

br :k.

(through his step-son and com-
mander Ibrahim Pasha) secured the
roads against brigands, thus improv-
ing communication between Jeru-
salem and the rest of the country.

All Mohammed Ali’s efforts lo
consolidate his hold on Palestine
came lo nought. Seizing the oppor-
tunity to squeeze political and
economic concessions from Turkey,
the European powers forced the
Turks to sign a series of Capitula-
tions. In return, a naval force was .
despatched to the Mediterranean
and the Egyptians were forced lu
retreat.

By the lime the Turks returned in
1840, the situation in Jerusalem had
been irrevocably ultered. The
protection enjoyed by European
citizens under the Capitulations,
which extended lo Ashkenazi Jews
and many Christians, considerably
weakened the local Moslems’ hold
over the city. The Sultan in Istanbul
was forced to issue proclamations
guaranteeing equal rights to non-
Moslems — although he too
welcomed the opportunity to
weaken the Moslems,' religious es-
tablishment; Jerusalem came under
more authoritative administration
as a Pasha replaced the lower-
ranking official that had
represented the Ottoman govern-
ment before the Egyptian conquest.
Even a city council fmajllss) was es-
tablished, giving Jews and Chris-
tians official representation for the
fir$l time. A unified urban body
politic was beginning to emerge.

The population continued to
grow, from 15,000 in 1850 lo 22,000
in 1870, reaching 55,000 by the start

W

i

4.;

IN THE puliiicul arenu, too, menl before the Egyptian conquest,
momentous changes were about to Even a city council Imajllss) was es-
take place. Openly courting the inblished. giving Jews and Chris-
European powers, who since linns official representation for the
Napoleon's invasion of Palestine in first lime. A unified urban body
1799 hod begun to recognize its politic was beginning to emerge,
strategic importance, Mohammed ; The population continued to
Ali allowed them to expand their grow, from 1 5,000 in 1850 lo 22,000
political- presence in the area, osten- in 1870, reaching 55,000 by the start
sibly io protect Christian interests... of the new century. With increased

The first consulate to open in immigration plus European in-

Jerusalem was the British, in 1838. (erferencc, Moslem power began to

Finally, the decade or the 1830s recede. Front almost half the total

Witnessed n t ech nologi cnl population in 1800 their numbers

- breaklhi ough of far-reaching conse- 1 fell to a third, by mid-century; by
■ quencos, the regular introduction of 1 1 900. they made up less than 20 per
steamships, that cut sailing time ' cent of the urban populace. Bcginn-
■froni Europe to less than a month.; Ipg with -the permission granted by
. this, development mude Jerusuleni : Mohammed All to build new
more' nccosslble to Ihe outside : bhurches and synagogues end con-

lure of the Christian community
also crumbled by mid-ccntury. The
Catholic Church, excluded but for
its Franciscan custodians since the
end of the Crusades, re-established
its Patriarchate in Jerusalem in 1841
against the vigorous opposition of
(he Greek Orthodox, but backed by
France. In that same year the Prus-
sians and English jointly established
a Protestant Bishopric despite op-
position from the Catholics and the
Greek Orthodox. Then, advancing
its imperial designs under the cloak
of religion, Russia took over as the
“protector and patron" of the
Greek Orthodox Church itself.

Religion, politics pnd eco-
nomic development always went
hand in hand in Jerusalem. The im-
portant visit of Kaiser Wilhelm in
1869, for example, was intended at
one and the same lime to cement
Prussia’s lies to Turkey while
furthering the presence of Protes-
tant Christianity in the Holy City. A
more tangible result of his visit was
the puving of the road from Jaffa to
Jerusalem so that the German
Emperor's , carriage could puss.
Although it remained more a trail
than a road, the de facto opening of
this vital artery for commerce and
tourism dates from this lime. Mis-
sionary activity among the Protes-
tants prodded both Jews and Greek
Orthodox to open schools, hospitals
and other public facilities in self-
defence, and spurred commercial
development in the JalTu Gate. area.

The transformation from village
to city was most evident, however,
In the Jewish sector. Here, too, ex-
ternal influences complemented in-
ternal changes.

Under the protection conferred
upon them by the various
European consuls from 1 the early
1840s, the Ashkenazis soon became
the most dynamic element in the
Jewish , community, perhaps in the
entire city. However, they still did
not have the;rights and formal status
accorded LO the Sephardim by the
, Turks (the right, for example, to

• I...IJ A .k 1 , J r. . — w * «uiiva t»ne rigra, rur example, to

world, . and heralded the Introduc- tinumg lo the building of new .elect the Chief Rabbi from among
lion ior a imd service, lovi sm.com- quarters inside the walls and their ranks, or to legally buy and

Aierce and, a fe>v years later, (he ; without, the traditional structure of register lands.) By 1870 they had

telegraph, lii order to take ad van-,. A rab soc iety wos not able to contain matched the Sephardisin populo-

• t0 i lhc ' ex . pan 5 io " , an , d growing, lion, both communities numbering

develop the colony and win the sup- economic and political power of the around 5 500 e

non-Moslem majority. • In the i'sBOs the Jews became the

SolidUte his control, Mohammed Alt The autocra tic traditional struc- majority in Jerusalem. The very

. ^ POftT MAGAZINB- “ ~

construction of the central
Ashkenazi synagogues, the renewed
Hurva and Tiferet Israel (Nissan
Bak), whose bold domes made them
among the most conspicuous
buildings on the skyline, illustrate
how secure the Ashkenazis fgU.

Much of the impetus to embark.
on economic and institutional ex-
pansion came from outside forces.
Philanthropists like Moses
Montefiore, Baron Maurice de
Hirsch and Baron Edmund de
Rothschild became impatient with
constant demands for tsedaka,
charily. They demanded that the
Jewish community move towards
productivity, encouraging the
process by establishing schools,
hospitals, workshops and
neighbourhoods, providing capital
for development as well ns for such
traditional needs ns synagogues and
charities.

Just as Moslems and Christians
with vested interests in the status
quo opposed tampering with old
forms of life, so loo did most of the
Ashkenazis. Haskala, the
"enlightenment" that was bringing
Jews in Europe lo modern schools,
to integrated housing and to
poiilical equality mixed with
secularism, became for the
Orthodox Ashkenazis the
hidden threat behind any suggestion
of change.

They well knew, even without the
hindsight we enjoy today, that the
traditional community structure
and lifestyle was brittle, and could
not withstand innovation. They
fought back in two main ways: one
by use of the her cm, the ban of ex-
communication, which by cutting
off an individual from his society
and source of livelihood, functioned
as a powerful deterrent to non-
conformity — or failing lo deter,
would simply remove the offender
from the community altogether, the
other by closing themselves into
homogeneous pockets like . Mea
Shearim, thus replicating a self-
contained autonomous village in the
midst of tin evil city.

But in the end the
true enemy to village life
was round within. When
the revered Vilnn Gnon preached
the rebuilding of Jerusalem, he was
speaking from the depths of
traditional Judaism, removed In
time and place from mid-l9th cen-
tury Jerusalem itself. When his dis-
ciple Rcb Yosef Rivlin sought to ap-
ply the G nun’s teachings in
Jerusalem, he was cursed, beaten
and banned by the Orthodox tis an
insane agent of Haskala.

Twenty years after the pariah
Rivlin went lo live alone outside the
walls, however, 23 Jewish
neighbourhoods dotted the once-
barren hills. The very children of
Rivlin's lormcnlers, the second-
generation Orthodox sabras who, al-
lied with the amenable Sephardim,
sought modernity and a higher slan*.
dard of living were the inhabitants.
The leaders of the MaskU
(“enlightened," progressive) com:
munity that only in the 1880s dared .
show themselves openly were, in
Tact, graduates of the city’s main
yeshiva, Etz Halm.

The lively commercial centre out-
side the Jaffa Gate at the end of the
19th century was a far cry from the
markets in the Old City, where
vegetables were sold in one area,
leather in another; here stalU , or
Jews, "there of Moslems. The Jell*
Gate centre, later expanding
Mamilla aiid down Jaffa Road, mix-
ed shops and populations lh * w*7.
villages refused to do; in addrtw u
the increasing distance Wtwe
: home and place of work. wwU . .
Separation of business, inqilatry O
residence. Indicated the nl ° •.

FRIDAY, MARCH

■i :

wxwswi tiyj r t i iw. w.-at:

rational, planned and specialized
land use patterns characteristic or
cities.

Many other signs of a transformed
social life caught the observant eye.
Previously Jerusalem had no hotels,
because traditional societies have
no place in their social structure for
ihe stranger. Occasional travellers
were put up in hostels run by
monasteries or invited into private
homes. Moslems, Greeks and Rus-
sians al ike exploited mass
pilgrimuges to increase their
political presence in the town, part-
ly because pilgrims “counted" us
part of the local community; divi-
sions between "tourists" and
"natives" did not exist. Actual
tourism brought in its wake social
heterogeneity, and contributed to
(he emergence of n more tolerant,
cosmopolitan society. In 1840 a
Jewish convert lo Christianity, John
Meshuilum, opened the first hotel in
the Old City; by 1900, there were
16.

OF COU RSE, by the turn of the cen-
tury the gules were left open all
night, since the walls hud ceased to
encompass the growing city.
Indeed, walls, gales and garrison of
Turkish soldiers — to enforce sub-
mission to Istanbul, to defend
against attacks of Deduin and out-
laws and to preserve the rigid
religious hierarchy of the different
communities — lost their essential
purpose. Residents .much more of-
ten encountered policemen and
civil courts assigned to deal with in-
dividual problems.

Finally, among many other signs,
there was the emergence of an in-
legrated neighbourhood in the areu
of Ethiopia and B'nei Brith Streets
of today. Here, in contrast to
previous quarters, class (in this case,
upper-middle class) replaced ethnic
or religious background as the
determinant of who one’s
neighbours would be. Ashkenazi
and Sephardi Jews, Orthodox and
secular, Christian Arabs and Euro-
peans, local Moslems — all lived in
houses adjoining one another.

By the turn of the century the
transformation from village to city
hnd been largely completed. To be
sure, small homogeneous quarters
were still being built, especially by
Ihe Orthodox Jewish kollelim, but
they were increasingly marginal to
the mainstream urban life. After
World War I such garden suburbs as
Talpiol, Beit Hakerem, Rehavia,
Bayit Vegan and Kiryal Moshc were
planned and built by banks,
workers’ unions, the Histadrut and
other organizations for prospective
buyers.

While some were intended for
religious residents or members of
particular occupational groups, the
dissociation or neighbourhood from
community, presupposing the free
movement of population
throughout the city on the basis of
personal preferences and market
factors, marked a significant change
from traditional quarters.

None the less, communal
solidarity, • religious Identity and
ethnic quarters were never com-
pletely. eliminated as Jerusalem
became a city. Despite political
conflicts, Jerusalem of the Mandate
period. Comprised a- healthy mix of
neighbourhood "village- ness” and
urban • integration..

The city had overtaken the vil-
lage. Ip terms of the ability of the in-
divjdupi io' choose his style of Hvfng
and nis ncighbouis. and to enjoy a higher
me standard, all this was probably
for thi ^best. Still, looking oyer the
.drqqry.hqusing projects arid niassive.
new : deyelQpments, one wonders if
a , little loo m uch of the
village! community has been lost.D

F^D^Y.iyjARCH 11, 1983;

HERE IT IS AT LAST!

The new, expanded and updated, fact- packed

ATLAS OF ISRAEL

A survey of the Past & Review of the Present

Ideal for lecturers, guides,
visitors and anyone wishing
to expound on the major
themes of Israel’s past and
present.

More than 100 maps and
graphics of historical and
modern Israel with
explanatory texts. SO pages
and an indexed touring map
of the country.

You can buy it at your bookstore, or send the
coupon below.

-cut Kr

To: CARTA. P.O.B. 2500, Jerusalem 91024

Pleuse send me copy /copies of

CARTA'S HISTORICAL ATLAS OF ISRAEL
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ARTS AND CRAFTS FAIR

HUTZOT HAYOTZER

Artist Interested In participating In the Fair, are invited to apply
to the Fair committee by April 1 , 1 983.

To: East Jerusalem Development Ltd.

18 Mamilla Rd. Jerusalem

Surname First name.

Address Tel. no

I am interested in participating in tha Arts and Crafts Fair at Huizot
Hayotzer.

My artistic field is

My main exhibits era.

I understand that the choice of exhibitors and the allocation of space
is made by the Artistic Jurisdiction Committee and that notification
will be sent in due course.

Going Abroad???

At the Jerusalem City Tower Car Park

{underground)

you can store your car for a long period.

$ 55/month

including insurance

Parking: IS.25/hr, ■

34 Reho'v Ben Yehuda. Jerusalem. /

(Enuance from Rehov MeailatYesharim)

Tel. 02-233606.

AVI-EiTAN
Car. Parking and
All Services Ltd.

mm

Jc

THIS WEEK'S EVENTS

I 27 SHAUL HAMELECM BLVD. TEL. 2573G1

March 12-17

NEW EXHIBITIONS (Opening, Tuesday, 1 5.3 at 7.00
p.m.)

NEW PAINTING FROM GERMANY

1 1 adiEis Jii .7 leproseniert in Ihis exhibition ThBv are struggling with the problem of
national identity Ithe spin between East and West), with their country's history and
with the problem of then national conscience. Then works are marked by Ihe
influence of Dm economic, social and political cuses undorgono by their country The
wodil ou I look of ihe younger genera lion draws on Ihe pop. Punk ond new wave
■-iillure. (See Guest Lecture) With the essiBtanco of the Israel Phoenix Assurance
Company L(il.

NEW PAINTING

FROM THE JOSHUA GESSEL COLLECTION

Paintings by Siogned Anonger. Luciano Castelli. Bruce McLeBn. Mimmo Paladino.

A.R. PENCK — EXPEDITION TO THE HOLY LAND

A Graphic Portfolio

CONTINUING EXHIBITIONS

HELMAR LERSKI: PHOTOGRAPHS 1910-1B47

Over 1 &0 photographs in this comprehensive exhibition of a forgotten photographer
and cinumiiiogruphcr whose main works ware done in I si sol I m tween thw yoars
1 Q32 anti (947 Tho exhibition focuses on Ins series of close-up portimte of
•'chhiantnis" photographs dramatically drenched in sunlight, reflected by minors
Exhibited in cn-opOMtion with the Folkwang Museum. Esson
MICHAL NA'AMAN 197B-19B3 (aao Helena RUBINSTEIN Pavilion)

GUEST LECTURES

ZEITEE1ST: A BASIC TURN IN THE PLASTIC AHTS AT THE BEGINNING OF
THE 80’s

A sktln-lecturo III English by Chnstos M Joanhlmides I Berlin)

In ciinponiioii with the Gnntho Institute Wednesday. 18-3 nt B 30 pin

SEYMOUR CHWAST, One of today's inaior illusirjtors and graphic artisls And a
founder n( thu Push-Pin in Now York A sllda-lncture in English.

In rnopu ration with ihu Dtipsiinranl ol Graphic Design. Bezalel Thursday. I 7 3 ut
4 30 p ni

MUSIC W ISRAEL DISCOUNT BANK i

AN EVENING OF SONATAS. ZVf HAREL. CELLO; MARINA BONDERENKO.
PIANO

Wort & by BbmIiovuii. Hindemith. Mendelssohn Saturday. (3 3 at 8.30 pm
THE ISRAEL SINFONIETTA ARNOLD SCHONBEHG EVENING
C<jnrim;iur Mendi Rodan Tuesday. 15 3 at 8 30 pm

NEW DIMENSIONS IN MUSIC, in cooperation with Kol IsifloL 'Exotic Music';
vxonc instruments, languages and sounds Works Ly Thoo Loovoudio. Murray
Schaeffer. Minou Miki Leon Schirtloffskv. Mon Mindel and Joan Franks Williams
Conductor- Israel Edolsan. eoIoibib Sandra Johnson. Gtlah Yaron. soprano: Emifie
Bmendsen. meuo- soprano: Alex Jacobowitz. marimba: Michaol Mel tor. recorder
Wednesday. 18 3. at 8.30 p m.

CINEMA

Regularly; 'Film of the Year' at the Tal Aviv Muaaum

THE TREE OF WOODEN CLOGS, fltsly. 3 hours, in colour. Italian with Hebrew
and French subtitles) Ermano Olmr's exemplary film in full version The stoiy of
vassal families of peasants m Lombardy at the turn of tha century against the
background of political awakening Dally G.OO and 9 00 p m.

On Monday. 14.3, and on Wednesday. 18.3. thsrs will be no screenings at 9.00
p.m.

AFTERNOON ADVENTURE FOR CHILDREN (at 400 pm)

Gallary Games and workshop (or kindergarten children (aged 4-81 accompanied by a
parent. Sunday. Tuesday, and Thursday. For 1st-2nd graders on Monday
All tickets for kindergarten children adventures lor Morch. are sold -out l
Few tickets are left for 1st-2nd graders, on sale m advance at the Muaaum box office

Visiting Hours: Sat. 10 a m.-2 pm: 7-10 pm.: Sun -Thu 10 am.-IO p.m.: Friday
closed-

Box office Sun.-Thu. 10 am -10 p.m: Fn. 10 am. 1 pm.: Sat. 7-10 p.m Art
Library- Sun.. Mon.. Wad. (0 a.m.-2 p.m: Tua.. Thu. 10 am.-I pm. 4-B p.m.;
Circulating Exhibits' (Loan) Sun.-Thu. 10 a m.-l p m.: Tua. 10 a.m -* p m.: 4-7 p.m.
Graphics Study Rdom. Mon.. Tue.. Wed 10 a m.-l p.m or appointment in advance.
Information desk and box office Tel. 281297.

HELENA RUBINSTEIN PAVILION

6 TARSAT ST. TEL. 287196 t 299750

NEW EXHIBITION

MICHAL NA’AMAN, 1976-1983.

The first Museum ono-man show of ono of ihe young Israeli artists who represented
Israel at the 19B2 Venice Biennale.

Gallery Talk (in Hebrew) at the exhibition. Tuesday. 16.3. at 8 00 p.m
Guided Tours and workshops for students. Classes and groups will bo able to visit
the exhibition end work in a drawing workshop.

Miniature Rooms. Guidance end workshop by appointment m advance at the
Pavilion office.

Visiting hours: Sunday-Thursday 9.00 am.- 1.00 pm.; 5.QD-9 00 pm.: Saturday
1000 a m.-2.00 pm. Friday closed.

bankteumi iMN*i|m

i'iiis {**,•*» • W Vr Jw. cl!i ; f

•£;« W. ; . - :-<> •-- ? '■ >•;.■ v;s*. •

WHHN Viva Sivan got married in
England at the age of 20, she was
perfectly happy to stay at home and
raise a family, just as her mother
hud done and as was expected of
nice Anglo-Jcwish girls at (he time.

Today, she and her husband
Gabriel have four children, but Viva
is also u lawyer with her own firm
and the first religious woman to
serve on the Jerusalem Municipal
Council. And her example has
pmmpLed the National Religious
Party, which she left in disenchant-
ment, to decide to put women in
“realistic" slots on its election lists,
so that it won't lose the votes of*
other religious women to Another
party.

Balancing a career and a family is
a difficult juggling ucl for any Israeli
woman; it is even more so for a
religious woman who is ruised with
the idea that husband and children
are one's top priority. But Sivan has
a tolerant and flexible husband, and
their independent and rather
precocious children feel almost as
comfortable in her Relinvia law of-
fice as in their II ay it Vegan ilat,
where she manages to do her own
cleaning and cooking, with a certain
amount of help from the family,
liven the hoys have learned to bake
a cake fur Shalibat.

Viva was 'born in Liverpool ill
I 'Mb to a religious Zionist family.
Although she was sent to secular
schools, her father, who was in the
jewelry business, taught her Hebrew
and Bible at home, and imbued her
with the importance of living in
Israel. "We always had live-year
plans lor moving to Israel. Since E
was a child, I knew I would settle
there," says Sivan. who dresses
casually but modestly, and covers
her hair with a wig. She was also ac-
tive in B’nui Akiva.

• She wanted to go to Oxford or
Cambridge when she left school,
hut her father was opposed to her
leaving home. So she went to Liver-
pool University instead. There she
chose to study law.

“t had no attraction to it," she
confesses, "but I picked it because
the law courses involved the fewest
hours in class. I hud really been in-
terested in social work, but that re-
quired going to work at a factory for
a year."

During her three years at college,
she was one of the few women . —
or Jews — in the law faculty, and
she was regarded snobbish by her
peers because she didn't want to
get involved with them socially. She
set up a Jewish kosher canteen at
the university after the Jewish com-
munity centre claimed such a thing
was not viable. “I bought pots and
pans and food, and many students
— even Ihoie who didn’l keep
kosher — ate there, because it was a
goad plgce to meet other Jews.
Later the community centre took it
over.”

SHE MET her husband, a Lon-
’ doner. 1 when he come to speak to
■Jewish students at the university:
She graduated with first-class
honours, and .they married In No-
vember 1966. They arrived in Israel
.. the following March, In the tension-
filled prc-Sfy Day Wur period when
“everyone scirnqd to be jeayfog."
■.But' they. Were encouraged by the -
’ ‘example of VIva’s grandmother
■ who, deaf. and a widow, had a dream
‘■that she 'must die in Israel, and went:
. ; on jiliydj selling her house and leav-.
■ . ing dll her fait|ily behirid:'She (s how
nearly -90, ana, 1 soys, heij grand-
. daughter, "Hdr yeuts' in Israel have:
been thc/besl'in her' jife.Vv^ ?:i> ;

Viva, didnTbebew.inpuirs^mttidA,

: *: juid' to. Gabriel Urofked'itf afiofcditop
r foh“t Jtifatco ir Bhe
: ; r stayed: atlhottto^wi th ^the (1 w t 1 lire d

Just staying at home and minding her four
children was not Viva Sivan's cup of tea.

So she branched out into real estate, law
and politics, to become the first religious
woman on the Jerusalem Municipal Council.
JUDY SIEGEL-ITZKQVICH reports.

children — Pin has (now 15), Aryc
1 13). and Ue/alel (II). "I was very
happy iit home, and I felt sorry for
the women in the building who had
to go out to work.”

Things changed when Gabriel got
un offer to serve as a cantor for the
High Holydays in England, and Viva
wanted to raise enough money to
accompany him.

After trying to let their apart-
ment, she realized that there was a
need for real estate agents to help
Diaspora Jews rent flats in
Jerusnlem: Without any previous
experience, she opened up such a
business in her home, and even
hired an agent to help. She also
wanted to work so that her husband
could finish his doctorate on (he
French Renaissance period. A
Jerusalem firm. Matchmakers, of-
fered her a real estate : agent’s job,
and she uccepied il. “I was walking
an uir. We could alTord to hire a
cleaning woman, and cook, and
when 1 went home, everything was
ready."

■ But whep Pinhas developed a
medical problem, the doctor ,
revealed that it was psychosomatic
_ and due lo his unhappiness with her
absences from hopie. Viva fired the
cleaning woman and cut her work-
ing. hours so she that she could be
hpme to give, hjmjunch. Soon after;
she reopened her Own real estate of-
fice at home,

Whep. her. husband was offered an
emissary's job by Hie South -African
Zionist Federation, she reconciled
l herself lo the fact that she would
have tp stqrt all ■. over, again .when ■
they Returned, from Johannesburg;
j"You have, to gel yohr priorities
. ■ ' ngh t, 1 * she says. 'T m riot a woman’s
' Mb fiefspn, i ; believe 1 that men . and
v Women -are! equal in, potential. . On ;

- tho- .plhc ('hand; wo men ere
f r biolQgiCBily djfrereitt, (irid fit is main- : .
: ly' the ir- job. tp bring up child re rt.’'

In South Africa, she devised
Jewish educational programmes for
Jewish children in secular schools,
and worked for the Jewish National
Fund. She ulso gave birth to their
daughter Shira, who is now seven
years old.

RETURNING to Jerusalem and
starting from scratch was "very
lough." Her husband found it hard
to get n job, so she decided to work
— not at real estate, but with
Emunah, the National Religious
Party’s women's organization. The
women at that time were interested
in running their own list for the
Knesset, since the men in the party
were eager to keep as much power
us they could for themselves, says
Sivan, In the end, a deal. was made
whereby the women were given a
token 10 per cent of the slots. But
they were not higher than number
10, and therefore had little chance -
of getting a seat. V

She was also turned off by the
"absolute' lack of democracy in the
NRP. They made a big fuss about
having campaigns for new members
and internal elections. Therp were
fliers inviting would-be members to
sign up at any. United Mizrahi Bank.
But none of the. bank branches ever
had the forms." She also, 'claims that
one NRP faction ’’ paid 'in one che-
que for 500 new members,” an act
aimed at consolidating its own sup-
porters. "I, supposeithls happens In
all parties, but I’m hot willing to ac-
cept It." . • / '

: So disH.lusione3.was Sivan by the
NftP [ha(she\vcnttowork for 7>twa
Doth . Ye^uj/hdtayfin, -the- Jerusalem
JReligioys Movement, known : ais
Tadir, a gedup of NRP. dropouts ahd
religious ,. independobU .Who were
upset . by the scarcity of synagogues
and other religious Facilities in the
capital, especially • in the : ifewer
neighbourhoods. ;,

She was assigned lo organizing
the campaign for the municipal
elections which were to be held in
November 1978. in the course of
her work she was surprised at the
amount of feeling there was against
the NRP, among the religious ele-
ments she encountered.

"People said that the parly
leaders were interested only in
keeping their seats in the cabinet
and the Knesset, and had done
nothing lo establish a social
framework. They complained about
the low standard of NRP people in
power. I’m not sure all the
criticisms ore justified," says Sivan,
“But (he results of the municipal
elections spoke for themselves."

For in the elections, Tadir won
two seats to the NRP’s three. Us two
representatives on the city council
were jewelry manufacturer Eitan
Ben-David and engineer David
Zucker. Viva Sivan was number
three on the Tadir list.

AFTER THE elections, Viva
decided to return to her law books.
"I was very upset when people I met
during the campaign asked what I
do, and turned up their noses when
I said I wus the mother of four. So I
decided that I should have a profes-
sion."

Although her Hebrew was good,
having been away from I aw for so
many years made studying for the
exams difficult. "I couldn't tell the
difference between a breach of con-
tract case and a torts case," she
recalls with amusement. But she
passed the exams, and went to look
for a firm that would take her on for
the required two years as an articled
elerk.

"Everywhere I went, 1 was asked
if I was married and how many
children I had. When I said ‘four, ’
interest in me invariably dissolved.
The attitude was tha| if you had four
kids, you couldn't take your work
seriously. I was so desperate that 1
called every lawyer listed in the Yel-
low Pages."

She finally got a job with "a
marvellous firm” — Yosef Richter.
"I worked twice as hard as anyone
else, to prove that 1 could do it. And
1 learned a great deal." When she
finished her clerkship, Richter told
her she was "(he best law clerk I've
ever had." > J

After finishing her clerkship, she
decided (hat it would be easier to be
in control of her own lime if she
opened .her own law office rather
than york for someone else. "1
rented a place and hung up my
sign."

Although lawyers are not permit-
ted to advertise, she quickly ac-
quired a clientele by word of mouth.
Many of those who came to her
were English-speaking immigrants;
others were 'Uia-Orthodox rabbis,
who .surprised her by coming to a
woman for advice. She deals only
with civil cases, not with criminal or
divorce matters. "I identify very
closely with people and their
problems," she admits. "So dealing
with emotional things like divorce
would be a problem."

THEN, less than. a year after she set
up her office, David Zuker decided
that four years on the city council:
was- enough, and « resigned.- Sivan
was next on 'the Tadir list. Alier
much' hesitation, , she; agreed tp
serve, and , three months ago, in
December, she became the first
religious woman on the oity council,,
inheriting; Zucker’s seat bn the dis-
trjet planning com mission ,. k T didn’t
■kiioxy anything laibbut how the city
was run,’*: she ; admits, but she Is
Warning Tast, -

' Recalling her . first meeting, Sivan
.oqmplalns. that . Mayor Teddy KqI-;

lek wus "so uncouth. And you can
quote me; I’m not afraid of
anybody. I hud thought that when a
new member joined the council, he
would be welcomed and invited to
say a few words. But Teddy just
said: ’This is Viva Sivan,
representing Tadir,’ and immediate’
ly went on to shout at the Likud
leader and bang on the tabic. My
children were there to sec me on my
first day, and they were disgusted."

She also complains that the
mayor "claims to have built over a
hundred synagogues in the city, but
lie hnsn’l — with the exception of the
Jewish Quarter synagogues, which
are really tourist attractions. He
does a lot for the city, but he gets
money for synagogues from the
Jerusalem Foundation, which he
heads as mayor of Jerusalem."

Sources close to the mayor claim
(hat Tadir has "done nothing" since
its representatives were elected to
the council, and that they are "very
aggressive, thus taking away any of
the mayor's desire lo deal with
religious issues."

Sivan admits that Tadir has not
done enough. "But we’re not in the
coalition and we don’t have money
to build synagogues. Eitan Ben-
David works very hard at meetings.
And because of Tadir 1 * interces-
sion, Religious Affairs Minister
Yosef Burg was forced to reactivate
the Jerusalem Religious Council,
which is responsible for providing
religious services." .

She adds that Ben-David "shies
away from publicity. I told him that
if the press doesn't print what we
do, the voters will think we've done
nothing." But she was unhappy with
Tadir’s reluctance lo establish a
cultural and social organization as a
backup for the political organiza-
tion.

A SUPPORTER of Rabbi Haim
Druckman, Sivan has helped es-
tablish Matzad ( Mijkad Tzloni Dali )
to promote his views on Erctz
Yisrael, and hopes that the move-
ment will merge with Tadir to form
un alternative lo the NRP. Matzad,
she says, wants many Sephardim
to join.

Discussing national politics,
Sivan says she was disappointed
recently with Education Minister

• Zevulun Hammer's "reservations"
ubout the fight for unlimited settle-
ment in the territories. She also
believes that the NRP has sur-
rendered its mission to further
religious matters to the more ex-
treme Agudal Yisrael. "The NRP
sulTers from luck of principles. If
Labour were able to form a govern-
ment, the party would flirt with
them at the drop of a hat.”

She is as distressed as ever by the
NRP’s "disgraceful attitude towards
women. They’re looking over their
shoulder at the Aguda, which never
allows women lo participate in in
political affairs. Perhaps it ju*

- comes from the NRP leaderships
desire not to give up their power to
anybody."

Has Sivan herself any ambitions to
get into the Knesset if there is ever a
Matzad-Tadir list? She doesn’t rule
out the possibility. “Once you get
into politics It's like a drug,
says, • '

She believes that Western om
have by now become more assertive

• in Israeli society, and na

■ developed enough self-confidence -
to make their voices heard. . V

■ "We have a lot to give to

. society;" she aayS. But pdlittci Na-
tivity consumes a great deal of umj
i and .she feels torn between .&r m .
.‘ flicting wishes.

; difficult to cul^down.,

: Sometimes it’s a matter ofalj .£..

; Sometimes it-
| no(hin^."r

fttmtifxjfiN fost magasdh

Vs ■ v v • t

Ef

Iff

&

i

■•'•••.;•>< •; ii /. j

- •

’•- ■***•; •■

!?/

h&&i'

-®r

Meeting with Wendell Wilkie, at her study in Rehavia, after Wilkie lost to FDR In Ify i

,/• * ’ ; . i\*x.< ; -7 -a j

'..■••■'■■■■>•:■•■ V ': - V • ■ :■%?.. '!

V • M ■ J.

^Vv.7

(Above) Wf/i Hans Beyt af Ma’ale Hahamisha. (Below) With Recha Freier aid Ur.
Beyl, during celebration of her 80rh birthday. Freier arrived in country few months reri?:

.its.

-M. v

^-JCT 1 ^ -b--

Henrietta Szold dances with Youth Aliya t yards at Kfar H anoar H adati. At her s fde is Emma Ehrlich, her secretary. (Below) Henrietta Szold is greeted by settlers at Hanlta during visit in early 19ft ;

No part of Henrietta Szold's full life was as painstakingly
documented as her last years, much of which were spent
in close proximity to photojournalist Nahum (Tim) Gidal.
Gjdal describes Miss Szold's last mission, in the 1940s,
to The Jerusalem Post's D'VORA BEN SHAUL.

PEOPLE WHO ■ become legends in.
their own Jifplirac often, seeiftto get
Idsl Under Iheweightdfihetr public
Ihiogej. For .many people Henrietta
Szo% founder of Hada9sah (uid tho
pdWnr ^behind, tho hitissive -fescue'
mj^iohS of Vout]i AUya.^yu's^uch a

Ndhiint ■'(TiW) ; i pidal. frer,
, photographer aod frtepd,- >ho

PAGE EIGHT " ‘ ' ■

travelled ihquliatids of miles with
. .her* nnci :tbak close to 4,000 .
-pjiolograplis' of lier and her mis-
sions, - fern ciphers the wortien, not
the linage, . i - •- ,■ .

; Gidhl ryi'ipct her When she was
n I read y: - 7 5ye arso Id. U was two
■ •.years after she had taken the reins"
^pfi Youth ySliva. which was first con- ,
delved and), fpu acted'' by Rechd

Freier, and IS years after she had -
founded HadassaH. Gidal, who was
from Munich/ went to the Zloriist
Congress In : Lucerne in 1935 to
photograph jt and tp see. what was
happening. A year later he came to
Israel and ^started to Avork with
Youth Aliya. For the next ten years
h? was a constant companion tp
Henrietta Szold and' her : two assist

FRIDAY, MARCH n ’

i • ■. •• • ■

e gBgs5£jgE55E2 n at S5ga5 ^^

PULL OUT AND KEEP PULL OUT AND KEEP PULL OUT AND KEEP PULL OUT AND KEEP PULL OUT AND KEEP PULL OUT AND KEEP PULL OUT

The Pos

ter

THEATRE

,‘*53

Ellen Barkin and Daniel Stern star as husband and wife in -Diner ', the comedy-drama directed by Barry Levinson

ENTERTAINMENT

All programme* arc In Hebrew unless otherwise
listed,

Jerusalem

BANZI IS DEAD — A Khan Theatre produc-
tion hy Athol Fugard. Directed by Vladimir
Mirodun with Shnbtai Konorty and Avinonm
Mur Ch.iim. (Khun Thcnlre. Tuesday at 8.30
p.ni.1

BLOW THEM UP — A Khan Themre
production. (Khun, Sunday, Monday,
Wednesday and Thursday at 8.30 p.ni.)

URURIVA — Gabriella Lev and Ruth Wilder
in a controversial, contemporary presentation
by Alisa blion- Israeli of the life »>r n dramatic,
passionate woman, based on the original
Talmudic and Midrushiii sources. Directed hy
Joyce Miller. (Khan, toinororow at 8.30 p.m.1

THE CONFESSION - By Dostoevsky,
Hebrew translation by Dr. Sonia Sofer and M.
Kulir. Directed by Pninu Porter mid M. Kalif.
(Purgud Theatre. 94 kehov Bezulcl, tonight at
9.30 p.m.l

GIMPLETAM — Khan Thentre production,
musical comedy bused on the story by 1.
Bailievis Singer. (Gerard Behnr Hall. Beit
Ha'um. tomorrow, Sunday and Monday at
9.30 p.m.)

A JEWISH SOUL - By Yehoshua Sobol.
Haifa Theatre production. Jerusalem
Theatre, tomorrow. Sunday, (with English
liunslatiun) Monday, Tuesday and Wednesday
at 8.30 p.m. Tuesday also at 4.30 p.m. (with
English translation.)

THE WOOL STORY — Directors. Alina
Ashbel and Michael Schuster. (Karon
Theatre, Liberty Bell Garden, tomorrow at
9.00 pm.l

Tel Aviv area

BED KITCHEN, BED KITCHEN — Comedy'
for one actress with Dina Doronne. Wrliten by
Dario Fo and Franca Rome, directed by llan
tldad and translated by Ada Ben Nahum.
(Beil Harofe, Monday at 8.30 p.m.)

THE BROTHERS KARAMAZOV — By
Dostoyevsky. Habimah production with
Shlomo Bur Shavit, Ales Peleg, Israel
Bldcrmun. Shimon Cohen. The tense story of
four brothers who become united after the
murder of their rather. iHabimah. Small Hall,
Thursday at 8.30 p.m.J

CHILDREN OF THE CITY - By Dan
Almagor, Musical based on the Yeminite com-
munity, (Beit Lessln, 34 Rehov Welzmann,
tonight at 9,30 p.m.)

ENCHANTED ’ NIGHT — By Marozbek.
Directed by Hadai Ofral. A Karon Theatre
production. (Beit Lesslh, Sunday at 8.30 p.m.)

THE FALL — By Albert Camus. Translated,
adapted by and starring Niko Niiai. (Jaffa.
Husimia, tomorrow al 9.30 p.m.)

A FLEA IN HER EAR — Habimah produc-
tion of Georges Feydeau's Fatce. (Habimah,
Large Hall, tomorrow, Sunday, Monday and
Tuesday.)

GREAT AND SMALL — Coineri production.
Directed by llan Rcmen. (Trnvtn. 30 Rehov
Ibn Gvirol. Wednesday at « hi p.m.)

THE IYAR CONNECTION - hy Jonathan
Ucfen. Directed hy Itzik Weingarten. (Ben
Lessin. Wednesday and Thursday til 8.30 p.m.)

KING SOLOMON AND THE COBBLER —
Urueli classical musical. (Hcichai HnUirbut,

I uesdny at 8.30 p.m.)

THE LESSON — By lunescii. Directed by
I iimi l.eUcrer. (J:ltTu. Masinua, 8 Mn/ul
Dagim, Tliursduy at 9.3U p in.)

LI ITI.E INVASIONS - I rugi -comedy bused
on the works by Vaduc Havel and Pavel
kohut. Translated and adapted by Niko Nilm.
(Jall'u. Hasimtu, at low p in. and Tuesday at
9.3U p.m.)

T HE MEG1LLA — A special production bv
the Yuvul Theatre of the Yiddish Musical by
Yil/ik Manger. Hebrew by Halm Hefer, with
Avr.irnele Mur, Sussu Keshei. Sari Zurich
Yunkeie Hen Sira. Osnal Wishunski and Avi
Dor. (Hiihumam. tomorrow nrul Ihursday irt

9.30 p.m. Beit Hahaval. Monday ut 9. IX) p.m )

NOISES OFF — Three act comedy by
Michael Frayn. Lumen Theatre production.
Directed by Michael Gillespie. (Cameri, Tues-
day. Wednesday and Thursday ul 8.30 p.m.)

THE PACKERS — A light comedy by
Hanoch Levin. A L ameri Theatre production.
(Cnincn. tomorrow. Sunday und Monday nl

8.30 p.ni.)

Haifa

AMADEUS — By Peter Shaefrcr. Cameri-
Theutrc production- (Haifa Municipal
Thoutre. Tucsduy, Wednesday und Thursday
m 8.30 p.m.)

THE ASSISTANT — Haifa Theatre produc-
tion or Bernard Mejumud's story. (Hnlfu
Munieipul Thentre. tomorrow ui 8.30 p.m.)

THE MEGILLA — For details see Tel Aviv.
(Haifa Municipal Theatre. Sunduy at 8.30
p.m.)

Other Towns . ,

THE ASSISTANT - For details see Haifa.
(Giviu Haim. Mcuchad, Monday at 9.00 p.m.
Yifnl, Cultural Hall, Wednesday at 9.00 p.m.
Eshkol Local Council. Thursday at 9.10 p.ra)

BED KITCHEN, BED KITCHEN - For
details see Tel Aviv, (Hip Gev, tonight at 9.30
p.m. Dimana, tomorrow at 8.45 p.m, Allit,
Tuesday at 8.30 p.m.)

GOOD — By C.P. Taylor. Cameri production
directed by linn Ronen. (Kfar Sava, tomor-
row. Sunday and Monday at 8.30 p.m.)

THE MEGILLA — For details see Tel Aviv.
(Holon. Kino, tonight at 10.00 p.m.)

ONE-TIME ACT — with Oidi Gov. Yoni
Rcchier. Shlomo Bar-Abba, Shlomo Yidov,
Moni Moshonov, (Kiryat Haim. Beit Ha'am,
tonight aL 9.30 p.m,}

Jerusalem

APPLES OF GOLD — Colour documentary
lilm about the history and struggle of die
Jewish people from the lime of ihc early
Zimmi movement to the present. (Laromme
HuIl'I, tomorrow at 9.w.i p.m.: King David
Hotel. Sunday m 9.00 p.m ; Hilton. Utile
Ihcatrc, Wednesday ul 9.C*) p nu

THE BEST OF SHALOM ALEICHEM -
SinrivN hv the famous Yiddish writer, per-
lurmcd iii English by Jeremy Hyman. Duwn
NadeL Isaac Weinstock. directed by Michael
Schneider. (Hilion. tonight ul 9.30 p.m.; King
David, tomorrow m *1.30 p.m.)

CLASSICAL GUI I Alt - With Yocl Akiron.
(/orb a the Buddha. 9 Yoel Salomon, Tuesday
ul 8 p.m.)

DANI GOTFRIED'S JAZZ QUARTET -
Explanations In the basics of Jazz. (Israel
Museum. Sunday at 4.00 p.m.)

FOLKSONG EVE — (Huns and Grelz. 44
Emek Kefuim. Sunduy at 8.30 p.m.)

GOLDEN GUITAR — Avner Strauss plays
classical, juzz and flamenco pieces. IZorba the
Buddha, tomorrow at 8.30 p.m.. Wednesday al
8 p.m.)

HA MSA GROUP — Plays Punk rock.

( Purged Thentre. 94 Rehov Bezalel, Wednes-
day at 9.30 p.m.)

JAM SESSION — (Huns and Grctz, Tuesday
nl 8.30 p.m.)

JAZZ — Dan Mallow, piano; Saul Gladstone,
trumpet; Eric Heller, bass. (Katy's Restaurant,
15 Rivlln, today from 2,00 to 5.00 p.m.)

. JOE BLACK AND EDDIE GOLDF1NE —
Perform. (Hans und Grelz. Wednesday al 8.30
p.m.)

RUTH TOFFLER — Performs. (Hans and
GreU. Sunday ul 8.30 p.nu)

YERUSHALMI — A new Latin Jewish Rock
Group. (Israel Centre, 10. Rehov Straus,
tomorrow at 8.30 p.m.)

YOUR PEOPLE ARE MINE — Pap musical
In English based on the Book of Ruth, (Hilton,
Little Theatre, tomorrow at 9.00 p.m.)

Tel Aviv

AGURA GROUP — Performs Lalln-
Amcrlcun und Jazz — Rock music. (Maudon
Shuhlul. Dizengoff Center, tomorrow.)

ARIEL ZILBER — And his Group. (Moedort
Shabliil, tonight)

THE BEST OF SHALOM ALEICHEM ~
Details as Tor Jerusalem. (Hilton, Thursday at
8.30 p.m.) ■

COUNTRY MUSIC - With the Hillbillies.

1 Mondial Shabliil. Tuesday)

IJANI LITANY — And hi*, group in “Worm
Kcliiliunx."(Bcil l.es>in. M Kehov Wei/mann.
iimiurrow m in.od p.m.)

DANNY SANDERSON — In his prognnnme
The Usual Size." (Tzavia. 30 lbn Uvirol,
inniorrnu ji 4,t.W p.m.)

FOLK DANCE MARATHON - Dancing
:md singing with Fflic Ncl/er. organized by
Mi/iink mid ihe Tel Aviv University, Sport.
Culture and Keereulion Club l Tel Aviv
University, Elite Sports Hall, tonight from 9.30
p.m. until the curl) hours; tomorrow from
I03HI a.m. until 23)0 p.m : and Irum 8.00 p.m.
until........)

HUMOUR IN MUSIC — Mordechui Ben-
Shahur. and Esther Itaumwoll present u
humorous operatic dialogue. (Jaffa. Hasimm,

K Mn/.ul Dagim. Monday ul 9.3U p.m.)

THE JAZZ CELLAR — Wilh llan Mochiah,
sLixuplione; Norbcrt Goldberg, drums; Hnim
Kuhlan. piano; Yossi Fein. buBS. (Ben Lessin,
Sunday at 10.30 p.m.)

JAZZ EVENING — With Dunl Gotfried and
his Mends. (Mcxidon Shublul, Monday at mid-
night)

JAZZ EVENING — Nigun Performers pre-
icnt an evening of Ragtime and Jazz-Rock.
(Hasimtu. Sunday at 10.30 p.m.)

JAZZ-RUCK EVENING — Wilh the Mel-
/ioi. (Moudon Shuhlul, Thursday al midnight)

MEL LEWIS AND THE DIG BAND - With
singer Lynn Roberts in Present Day American
Juzz. (Mann Auditorium, tomorrow and
Tuesday)

NEW. YORK, NEW YORK — Evergreens
front the Sixties .with Sandra Johnson and Liz
Mugncs. (Beil Lessin. tonight at midnight)

THE PLAYFUL BU.NNY - Lively entertain-
ment wilh Cliana Lazio. (Astoria Hotel, Mon-
thly mu) Thursday at 8.00 p.m.)

1

HOCK’N ROLL — With Libby and cite Flash.
(Moudon Shublul. Wednesday m midnight)

SHLOMO AKTZI — Sings! (Travta. tonight
at 9.30 p.m. and midnight)

SOUTH AMERICAN STYLE CARNIVAL
— Food and dancing. (Astoria Hotel, tomor-
row nl 8.00 p.m.)

TONIGHT SHOW — Presented by Barry
Langford. Evening of international entertain-
ment and interesting interviews. Special guest,
Leonard Graves. (Hilton, tomorrow al 8.30
P.lll;| .

TZAVTA CHOIR CLUB — Presents “The
Song of Songs" withRnchcl Co chavi-Le venter

and guc .1% — The Troiibuduurs and The Onah
t'liuir. conducted hy Lily Epstein — with
audience participation, t Travta, Sunday at
K..UI p.m.)

Halfn

HANOI 11 ROSEN N — Pantomime. (Beit
Kmliochild. tonight ul IU.UU p in.)

MEL LEWIS AND THE BIG BAND — See
I cl Aviv fur details. ( Auditorium. Wednesday)

Other Towns

APPLES OF GOLD — EH 01. (Moriah, Thurs-
day nl 9.3U p.m.)

APYRION BAR — Listen and dance to music
• >n ihe piunu. (Herzliyu. Sharon Hotel, tomor-
row night. Monday through Thursday ut 9.00
p.m.)

APVRION BAR BAND — Music, dancing
and drinks in a pleasant atmosphere.
illLTZliyn, Sharon Hotel, tonight at 9.30 p.m.)

HAG ASH ASH HAHIVER - In Festival
Hngjshash. (Givatayim. Shavit, tonight at
10 nu p.ni,: Peiuh Tikvn, Heichal, Tuesday at
9.1 X) p.m,; Kahovoi, Beil Ha'am, Wednesday
.11 9.uo p.m.)

SHA LOM HANOCH — Sings selections from
Ins record albums. (Cnrnnicl, Cullurni Centre,
tonight 111 10.00 p.m.)

SHARON SUNDAY SINGLES NIGHT — A
Dinuo evening for singles. (Herzliya, Sharon
Hnlul, Apyriun Bur. Sunday at 9.00 p.m.)

VOICES — Hava Albersteln accompanied by
Menuhem Vizenbcrg. (Kalzrin, Beit Hatarbut,
Monday at 9.00 p.m.)

FOR CHILDREN
AND YOUTH

Jerusalem

THE JERUSALEM BIBLICAL ZOO —
Guided tours in English and Hebrew. Adults
welcome. (Biblical Zoo, Sunday and Wedncs-
iluyul 2 AX) p.m.)

Tel Aviv

AFTERNOON ADVENTURES FOR
CHILDREN — For children aged 4-6 accom-
panied by un adult — Gallery gntnes and
workshops. (Tel Aviv Museum, Sunday, Tues-
day and Thursday. Grades 1 and 2, Monday)

THE HAPPY HOUR — Shoi Schwartz pre-
sents Clowning and Pantodunic with audience
participation. (Jaffa. Hasimlo. 8 Mazal Ongbn,
lumo'frovr at 41.30 a.m.)

{Continued on page Cl

dance

Tel Atjv

BATSHEVA DANCE COMPANY - Within
Inc . framework of the Kinor David presenia-
tlotu In (he Arts. Programme; “Trojan
^Jumes ,, by Robert North. (Mann Auditorium,
Sunday at 8.30 p.m.) . . • , .

Trtfe, ISRAEL BALLET - In a Gala Perfor-
mance.’ introduction, to Ballet ;Yam-
pojsky/Czerpy; Opus 35 Sperli/Shostakovitch;
.Mindatatohn TJonderlo,' Yampo^sky/MendBli-

sohn. (premiere) (Haifa Auditorium, tomor-
, row at 8.3U p.m.)

KIBBUTZ DANCE COMPANY - Nu details
uvuiluMe.( Municipal Theatre, Monday at 8.30
p.m.) •

Others

BATSHEVA DANCE COMPANY - Pre-
sents works by Yigal Perfy, Mlkl Kol. Ivan. Fel-
ler Voslev nnd Robert North. (Kibbutk
. Ofnkim. Monday ol 9.00 p.m. Kibbuu- YngUr,
Thursday at 9.00 p.nt.) ; .)

1983

THE fBRUSAUQM POST MAGAZINE

. -i-.'-. - 1

Jerusalem

Cinemas

FROM MAO
TO MOZART

I CINEMA l DNJ'O 1

■_in Jorusftlom'Cjnfima 1

Hu** IH, |9, il. Id. 415067

1-ri . March 1 1 Jil 2. .10
llu> Wav of ] hi’ Drapim
A llrldnt '[mi Par
Sun.. Muri'li 12:

4 1 inli- Hall 7

One Flew Our I lip furkanT \tsi 1
Sun.. M.irch IX
The Wj> nf I lip [ J ra|{iin 7
A Bridge Tuii Pm 9.15 "

Mmi . March 14;

Our Flew Our llip Cuckon'i Nevi 7
'Annie Hull 9.15
Tuc. March IS
l p In The Smoke 6.45
Reds H.JU
Weil.. March lf>:

Up In I lie Srnnku 6.45
Reds H.JO
lhur. .March 17:

Gallipoli 7. 4.15

F.DKN

2nd week

VICE SQUAD

harirah

WcckdaiN 4:

E.T.

Weekdays 7, u-

FIRST BLOOD

ISRAF.1. M US HUM

Mon.. \Ycd., Thur, ?.3i)
ADVPNTl’RF.S OF VOW BFAR
rue. h. 8.30

I HE LAS T PltTUHE SHOW

MITCHELL

5lh week
RIL'IIARI) CERE
DEBRA WINGER
IT’LL LIFT YOU Op
WHERE YOU BELONG

AN OFFICER AND
A GENTLEMAN

ORGIL

Wall Dl Bley's

JUNGLE BOOK

ORION Tel. 222914

4lh week -

THE VERDICT

a ' PAUL NEWMAN

* Cl I ARLOn E R AMPIJKG

* JACK WARDEN

Directed by Sidney Lumet
Sul. 6.45, 9; Weekdays 4. 6.30. 9

ORNA TeJ: 224723

' RAISE THE
• * TITANIC '

* ALEC Gl'JNNESS

• RICHARD JORDAN

ufldajrs IS50 Mr ticket
4, 6.45/9 1

SFMAIMR

RETURN OF
A SOLDIER

* .h i m: ciimsup

* GI.FNIU JACKSON

* ANN MAIIGKKI

* ALAN BAITS

Sill, n nd ucakduv, 7. 9.1?

SMALL. AUDITORIUM
BlNVfNKI HA’UMA

BEST LITTLE
WHOREHOUSE
IN TEXAS

rel Aviv

Cinemas

ALLliNBY

2nd Meek

li-nipln u( (U. Sal. 7 15, 9. JO
Weekdays 4. JO, 7 45. 4.311

BOMBER

BEN YEHUDA

3rd wrek

l*Vidj> 10. Saiurdtiy 7. 9 .10
Weekdays 4. JO. 7.4.30

THE WORLD
ACCORDING
TO GARP

Ni 'minuted fur 2 Academy Awards

CINEMA ONE

THE BIGGEST
BATTLE

• HENRY FONDA

Tonight 10 wrtly
Sul 7.1?. 9 JO
Weekday' 4.J0. 7. IS. 9..UI

CINEM A TWO

Closed for rcnuvaiioiu

DEKEL

4th week

Sat. and weekday s 7.930

THE VERDICT

Nominated fur
5 Academy jwurd*

* CHARLOTTE RAMPLING

* JACK WARDEN

* JAMES MASON

Sal. und weekdays 7. 4.3ft

DRIVE-IN

Tonight 10: Sat. und weekdays
7.15.8 9.JO

private

POPSICLE

Every night 12 15: SEX FILM

ESTHER Tel. 225610

Israel Premiere

L'AS DES AS

JEAN -PAUL flELMO.VDO
Sal. 7.15. 9.30: ■
Weekdays 4. JO. 7 1 5, 9.30

HOD

• • «h «eek

Tonight 10: Sal. 7.15, 9.30
Weekdays 4.30. 7. 1 5. 9.30

FIRST BLOOD

* SYLVESTER STALLONt

INSTITUT FRANCAIS

III Haysrkon Sl.
Sat. B

Jean Marjc Ural flint.

ARISTIDE

caillaud.,

7'. ' tue.T'.JO . ; •: ,:1,

LESFOURBERIES
v \ j>E SjCAPIN

■- ' tyrMoiiire. ;•

Kh

CHEN CINEMA CENTRE.

Ailvmiic ritkcl vjI<> '>nly at hut
"I lice fruiii 10 a in

CHEN 1

I4th Hrtk a
i-ridny night 9.4?. 12. IS
Stilarilav II ii.ni., 7. 9.J0 p ni
Weekdays 4. JO. 7. 9.30

E.T.

THE EXTRA-TERRESTRIAL
A Steven Spielberg prmlucilun

CHEN 2

2 An

Jrd »cek
Walt Ditneys

PINOCCHIO

Tnnight 1(1. 12 midnight
Mel Brooks'

12 CHAIRS
Sul I In m.. 7.25. 9.35
Weekdays 4.40. 7.25, 9.23

CHEN 3

2nd week

Tonight 10. 12.15
Sul. 7.15. 9.35
Weekdays 4.30. 7.15, 9.35
Academy Award
nmill iiHtinn f>

fur Hie bed f

wreenphy j

of the year

A wonderful movie"
Pauline Kucl. New Yorker magazine
"Eslramly funny’’

Vincent Cnnby. N Y Times
Sal II n.ni.: PINOCCHIO

CHEN 4 m

2nd week fjf**

A HARD
DAY’S NIGHT

Tonight 10. 12.10: Sal. 7.20,9.30
Wcekduys 10.30 n.m.. 1.30.
4.20, 1.20, 9.30

C HEN 5 ,

*"«! v*tck J§p

MISSING

Tonight 9-50; Sat. 7. 9.30
Weekdays 4.30, 7, 9.30

DONA HOR AND
HER TWO HUSBANDS
Sat. II a.m.: PINOCCHIO

Sat . 7. 9,30: weekdays 4.30, 7. 9 JO

AN OFFICER
AND A
GENTLEMAN

UTI IIft you up where you belong
• RICHARD GERE 8

« RICHARD GERE
* DEBRA WINGER

WiMiofrCenift Tel. 288868

4lb week

FELLINI

Friday 10.00 p.m. Saturday T.|5,
9.30-' 1

Wealtclays 1,30. 4 30, 7.13,9.30

LEV II

OizdflgoftCcntfr:' ’ Tri.^H886fl

NIGHT OF
SAN LORENZO

• Tonight 10; Sat. 7.15. 9.30
Weekdays IJ0. 4.30. 7.15. 9.30

,'niw cinima

iGORDONQirqi;

erjinn.T't^CTSvr':

W II mi Yehuda lid., Tel. 244173

5th MONTH

Snt. 7. 9 Jil
Weekdays 7. 9 Jtj

TEMPEST

JOHN C'ASSA VFTES
GENA ROWLANDS
At 5 p.m

VIVA ZAPATA

Special Screcuinu
of i m' vie n"tn inn led
l»r II Oscar, I‘>H3
■>n Thur. :« 4.

GANDHI

L.IMOR

Tonight 10: Sat. (>. 9.30
Week duvs 4 30. K..10

REDS

* WARREN BEATTY

* JACK NICHOLSON

* DIANE KEATON

Today 2.3ft:

LOOKING FOR MR. GtJOHBAIi
Sat. II u.ni.: STAR TREK

MAXIM

Hlh week
Sat. 7.15. 9.3IJ
Weekdays 4.30. 7. IS. 9.30

DON’T GIVE

A DAMN

ABOUT OFFICERS

MOGRABI

bth week
Today 10

Saturday 7.15. 9.30
Weekday* 4.30. 7.15. 9.30

YOUNG

DOCTORS
IN LOVE

CARO PAPA

* TUTOR 10 GASMAN
Shi. 7.15. 9.30
Weekdays 4.30. 7.15. 9.30

Israel Premiere

GREGORY’S GIRL

Today IQ ii.ni.. 12 noon
Sot. 7.15. 9.30

Weekdays |Q. 12. 2. 4. 7.15. 9.30

"The surprise comedy of
the year: (Daily Mirror)
"One of the best nimi
or the year’’ (Time)
Tonight 10, 12}

Rocky Horror Picture Show

.. S W . 7.15. 9,30
yVeekdays 4.J0, 7.15.930

eaiix

profondes

■ Based on the novel by

'■uKSifflSSf

JhAN LOUIS TRfNTIGNANT
■ Aduhi only : :i

TCHELET

Monty python

LIVE AT -THE-

Hollywood

v&mm

DUDLEY MOORE
MARY TYIJ-R MOORE
und iiilr>'dnyiiig
Kutlieriue lle.ily
T«nngh V.45. 12. Sot. 7. ■!. til
Weekday % 4. It). 7. »». in

LE TRIO
INFERNAL

* ItOMY SCHNEIDER

TAMUZ

Tonight 111. 12
Sal. and weekdays 7.15, 9JII
Tne. 7.15 only
THE POSTMAN ALWAYS
RINGS TWICE

Today 2.30: Sal. 1.15 p.m.: 11.41
Tuc. 9 Jt)

FANTASTIC ’A

Sul. II .i.ni.. Tuc.. Thur. 4
SLEEPING BEAUTY

TEL AVIV

Tonight u( 10
Sut. 7.15. 9 10
Weckdnv.s 4.30. 7.(5. 9.30

■EASTWOOD

24 hours
...toget
out of
tom!

r CLinT 1 (

EaSTWOOD '
LcooGans BLurf 1

TEL AVIV MUSEUM

8th week

THE TREE OF
THE WOODEN
CLOGS

Ermann Olmi's inutamicce, .'def-
ied hy Isrud's film trines us ’Tlesi
Film." Awarded IheJim'a Pme tuul
l he UoUen Palm- ui the Cannes
Frail Ml.

6 , V

ZAFON

Silt week

"Don'l Misi Flaolcl’’

(John Simon. "Nationol Review"!

PIXOTE

AMPHITHEATRE

Jndweek

* BUD SPENCER

.‘."in a oantlCal advpntu re

BOMBER

_A Stanley ((ufculck film

CLOCKWORK
: ORANGE :

MALCOLM MCOQWEU,
: Sal - nrid wepkdays 6.30, 9

A II MON

SEA WOLVES

* t. HI t.ORV |'Et K

• Rtn;i H MOORL

4. ii 4'. 9

AIZMON

Mh week

FIRST BLOOD

4. 1*45. 9

niKN

J4ili wrek

Mv‘\ rii Sjiidlicrg's

K.T.

4. I* 45. ‘I

(> A LOR

SI'UDIO Tel. 2*358)7

2 nd wet-k

Innighl M»: Sat. 7 \ \ u Jo
Wednesday 4 3D. 7 1 5. *J 30

THE GUNS OF
NAVARONE

GREGORY PECK
12. 4. 8

FIST IIP FURY

MORIAH

BLUE LAGOON

* BROOK E SHIELDS
fi.45, 9

ORAH

4th week

* PAUL NEWMAN

* t MAR 1.0 f TE RAMPLING

* JACK WARDEN

in ,i powerful film directed by
Sidney Lumet

THE VERDICT

4. i. 3ft. «t

ORION

WHY WERE
YOU LATE?

6 inmMnp prfs.
Adults only

ORLY

MONTY
PYTHON
AND NOW
FOR SOMETHING
COMPLETELY
DIFFERENT

0.45. v

5lh week

Sat. 0..U). 9
Weekdays 4. ft.JB.9

AN OFFICER
AND A
GENTLEMAN

* Richard <;erk

* DEBRA WINGER

4, A .III, 4

MIDSUMMER
NIGHT SEX
COMEDY

* WOODY ALLE N

* MIA FAKRIIW

. A. H.4J. «

SHAVIT

THE LONGING OF

VERONICA VOSS

6.45. 915

ARMON

2nd Hgek
Tonlghl at 10
Sat. 7.15. 9.30
Weekdays 4, 7.15.9.30

BEST LITTLE
WHORESHOUSE
: IN TEXAS

* bOLLY PARtON

belkin aov

KFAR HAMACCABJAH

Today 2. JO: Sul. 5.15. 7.15. 9 15
Sun.. Mon. 7.15.0.15
SATURDAY NIGHT LEVER
Tuc.. Wed.. Thur. 7.1 5. 9.15
A STAR IS BORN

LILY

2nd week

Tnnight 10. Sut. and weekdays
7.15,9.30
TARZOON

OASIS

Tonight 10; Sat. und wcekduys
4. 7. 9. JO

ORDEA

A POLICEWOMAN
CALLED LOUIS

• LOUIS DK FUNKS
Sul. und Weekdays 7.15, 9.30

RAMAT GAN

Tonight 10: Sut. und wcekduys
7.15.9.30

“AUTHOR!

AUTHOR!”

* Al. PACINO

HERZLIYA

Cinema

TIFERET

SILENT RAGE

* CHUCK NORRIS
Sul. and weekdays 7.1?. .9.15

Em

ESTHER

I LOVE YOU

Sut 5. 7. 9.15
Weekdays 4.30. 7. 9.15

DANCE

MIC, DAL

Weekdays 4 .In. 7.15. O.Jit
Tnnight 10: Sal 7.15.9.30

THE MAN
WITH THE
DEADLY LENS

SAVOY

Tonight 10
Sat. 7. 9.30
Wcekduys 7.15. 9.30

THE WORLD
ACCORDING TO
GARP

Weekdays Cexc. Thur.j4.30:

BRUCE LEE
AGAINST THE
GIANTS

Ramat Hasharon

2VSTAR

Tonight 9.30: Sut and weekduy* 7

HANKY PANKY

Tonight 11.30; Sul. and weekdays
(ex. lue. 19.J0

FATING RAOUL
Sat. 1.30: Tue. 9.30:
THREE WOMEN
Sul. 1 1 u.m.: Tuc: Wed.. Thur. 4
TOM AND JERRY

Israel Theatres

The Cameri Theatre

SUITCASE PACKERS
premiere
Tomorrow, Mar. 12: Sun., Mar. 13
Mon., Mar. 14; Thur., Mar. 24

GOOD — "Must be aeon"

. Heichal Hatarbut. Kfar Saba
Tomorrow, Mar, 12: Sun.. Mar. 13
Mon., Mar. 14. 8.30 p.m.

NOI8E8 OFF — comedy
Tue.. Mar. IB; Wed., Mar. 18

Habima

TROJAN WOMEN
Tomorrow. Mar. 12: Sun., Mar. 13
Mon., Mar. 14: Tue., Mar. 15
Wed., Mar. 18; Thur.. Mar. 17

FLEA IN HER EAR
Tomorrow. Mar. 12; Sat.. Mar. 19
Thur.. Mar, 24, 8.30 p.m. •

.THE BROTHERS KARAMAZOV
L Thur.. Mar. 17: Sat.. Mar. 19

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I Ciuiiiiiiu'd from pag * A I

THE NUI( BACKER - ( Beil Leasin, 34
Kelu iv WeitiKinn. lonu'iruw .U 11.30 u m.)

THEATRE DAY — fUiri! l.cywn. Monday.
I m-vl.iy. Wednesday and Diursdjy)

Olher Towns

NINE STORIES ONE MORE — Yuvul
IlKJtre pr-'duou on with llilhu Mux. Misclm
Ashcruv. Hm m Jirpl. (HuDor Hagliht.
Mainai. Wednesday ut I0.3U itm.; Kehovoi,
Sarid Sl-IiooI, riiursday at 5.00 p.m.)

SERENADES FOR YOUTH - The Israel
Siirfuuietta. Stanley Sperber. conductor.
Cnncvrt ni Serenades with explaniilions by the
conductor. Works by Movarl, Tchuikowsky,
Dvorak. Bruhms. (Beers he bn. Corner*
velorium, nuirsday ut 4.30 p.m.)

MUSIC

All progrunmes start at H.30 p.m. unless
otherwise slated.

Jerusalem

THE ISRAEL CHAMBER ORCHESTRA -
Uri Siigul. condiNlor; Peter l-'rnnkl. piano.
Works by M. killon, Mendelssohn, l-'rancmx
und Huydn. (YMCA. toniorrow.l

BRAHMS EVENING - With Oilu Varan,
soprano: Mini Zukui. ultu; Idit T/.vi, pluno and
Jonathan Zuk. piano. (YMCA, Sunday)

MONDAY NOON CONCERT - Teviu
Liievsky, xoprtmo; (Jil Hur-Moihe, flute; Jdil
T/vi, piano. Works hy Schubert und Brahins.
(Hebrew University. Mount Scopus,
Kotenbluin Auditorium. Monday ut 1.30 p.m.)

OLD ENGLAND — NEW ENGLAND -
Samuel Lewis conducts the Netunyu
Orchestra. Works by Sullivan, Vuughun-
Williams. Coates, Elgar. Sousa. Gershwin and
Anderson. (YMCA. Tuesday)

JERUSALEM SYMPHONY ORCHESTRA
— Explorations — Concert Number 3. Con-
ductor, Paul Sucher. Works by Stravinsky,
Buriok and Honegger. (Jerusalem Theatre,
Thursday.)

Tel Aviv

11-11 SERIES' - The Kibbutz Choir. Liz
Avriiham. conduct or. Works by Mozart.
Purcell. Beethoven, Ben*Zlon Orgad, Brahms,
l-aurc etc. (Tzuvia. 30 Ibn Gvirol. tomorrow at
fi ll u.m.)

AN EVENING OF SONATAS - With Zvi
Hurel, cello; Murinu Bondarenko, piano.
Works by Beethoven. Hindemith and
Mendelssohn. (Tel Aviv Museum, tomorrow.)

FILMS IN BRIEF

ANNIE HALL — Woody Allen’s personal
film ubout the relationship between an Bl-
maiched couple. Touching, humorous Und
totally convincing with the usual stock of ter-
rific verbal and visual gags. .

AUTHOR AUTHOR — A playwrighl whose
wire leaves him, has to cope with five kids, a
new play on Broadway and emotional up-
heavals. A Jewish comedy in spirit, with Al
Pacino having a ball In the lead.

THE BEST LITTLE WHOREHOUSE IN
TEXAS — A buxon procuress and a sexy
sheriff try to fend off the attacks of a hypocrite
crusader who demands that a venerable little
bordello be .dosed down for morality sake.
Based on a Broadway musical, Kseir inspired
by real life incident, it Is amusing as Idng as ii
does not pretend to take liseir seriously. With
Dolly potion and- Burl Reynolds..

CLOCKWORK ORANGE - Stanley
Kubrick’s 1971 - futuristic film abounds In
violence and sex,- in a cold, surreal setting.

DINER — Ellen Barkin and Daniel Stern star
in this comedy drama about five friends mak-
ing the difficult transition frito manhood.
Screenplay ahd^ direction by Barry Levinson.

E.T. — A creature from outer space, stranded
on Eurth, is helped by a bunch of kids, lo
regain his spaceship. A heartwarming, cheer-
ful ihrlUcr, which recaptures the charm and-
excitement of cinema in ils prime. Directed by
Steven Spiolberg.

FAME ~ An exuberant explosion <rf youftg
acting, singing and. dancing talents lights up
the screen in a.multi-facoled story purporting

W/lllani Matthew.*, will give a free concert of guitar and lute music, cosponsored
hy the Jerusalem International Y.M.C.A. and the American Cultural Center.
Jerusalem at the Y.M.C.A. King David Street, Monday. March 14 til 4.30 p.m.

CHOPIN EVENING - With Junulhuu Zak.
|"iuu»; and Y air Kluss. ( I'd Aviv University.

I astlii-h Auditorium, Mexico Building, tomor-
row at 9.00 |*. m.)

CHAMBER MUSIC - Mnriiinu Dursvh,
Miprunn: Elmar Sinrck. clarinet: Ihca Kutiicl,
|i ia n ii. Works, by llach. Spun, Schubert.
Mu/.irl, Wchcr. (Jirfiu. Iiiuiinnuel Lutheran
Church. Beer Hoflmunn Sl., tomorrow.)

THE ISRAEL SINFONIE'ITA - Presents
Arnold Sehdnhcrg evening. Mcndi Koditn,
eonduetur. (Tel Aviv Museum. Tuesday.)

EXOTIC MUSIC — Kid Israel in roupenilion
with the Tel Aviv Museum, within the
iramcwurk ul New Dimensions in Music, pre-
w:nli emtie works by' Murray Schafer. Rico
l.ocvcndic. Loon Sidluvski, Meir Miinlel. Joan
I •milk '. Wniauia und Minoru Muki. Special
puc'i Sandra Johnson. (Tel Aviv Museum,
Wednesday)

Haifa

I HE CHOI It DK THE RUBIN ACADEMY
OF MUSIC, JERUSALEM - Stanley
Spcrher. eunduclor. iHuifu Museum
loniorrow)

Other Towns

RECITAL — Desmond Bi/.dl, clarinet; and
Sara Yitmoraki-Tal. piano play works by
Milhaud. Meyer. Debussy und Brahms.
(KumM Hasharon. CWe Yuval, 57 Kehov
Ussishkin. tonight)

YITZHAK AVIVI - Piano. Plays works by
Mo/arl. Lii/.i und Moussorsky. (Ramin
Huiharun, Yuvul Calc, tomorrow)

JERUSALEM SYMPHONY ORCHESTRA
- I- or details sec Jerusalem. (Kibhulr
ll.i/urca, Wednesday Jt 9.00 p.m.)

PIANO KKCTTaL — Michael Blum (U.S.A.)
playv works which lie will perform fur the
Unhin^luin I Timpelilioii. (Kumut Huvhnron.
tale Yuval. Wednesday.)

For Iasi minute changes In programmes or times
of performances, please contact Box Office.

WALKING TOURS

Jerusalem through the Ages

Sunday nnd Tuesday at 9 JO a.m. and Thun day
it 2 p.m. -- The Citadel, Jewish Qunrtcr, Old
Yixliuv Court M useum, reconstructed
Sephardi synagogues. Western Wall.

Monday at 9jo a.m. — The Cunuunile and
Isrudiie period in Jerusalem.

Wednesday at 9.31) p.m. — The Greek and
Knnum Period in Jerusalem.

Sunday ut 1p.m. ~ Sites of special Christian in-
terest. r.iurs start from Citadel Courtyard
next in Jtillu Gale, und Iasi 3-3 W hours.
lickuiN muy be purchased on the spot. All
luurn arc guided in English.

to dcserihe life al the New York High School
uf Performing Arts.

FROM MAO TO MOZART - Academy-
Award winner for best documentary, the film
covers violinist Isaac Stern's visit lo China,
und shows him performing, listening and in-
truding. The successful encounter between
two vastly different musical traditions suggests
u possible common denominator for all peo-
ples.

MISSING — The end of the socialist dream
for Chile und its return to (he despotic control
of the. army, is the theme of Costa-Gavras'
latest film. Like In his other movies — the left
it always right and the right Is always wrong. ,

THE NIGHT OF SAN LORENZO — A
powerfully poetical rendition or a World War
Two episode describing the exodus of half the
population in a small Italian town, shortly
before their deiiveranoe by the American
Forces. A strong reminder by directors Paolo
and Viltorio Tavioni that history repeals itseir.

AN OFFICER AND A GENTLEMAN —
Tnylor Hack ford directs this film about a
xireet urchin who joins the army and provea
Ihut he can endpre all the hardships of the
cuurse Tor navy pilots.

ONE FLEW OVER THE CUCKOO'S NEST
— Based on Ken Kescy's novel about one
man's (Jock Nicholson) revolt ngainst The
system in a lunatic asylum. Jack Nicholson
nnd. Louise Fletcher (his nurse) received
Academy -Awardr for (heir performances..

PIXOTE — Brazilian 'fUm> about an .abam
doned 10-year old kid who roams the Streets of.
Sou Pau|o together witty Other children qf his '

ngc. Eventually they become hardened
criminals, ending up killing and being killed.

REDS — Warren Beatty’s excellent film
dedicated to John Reed, uri outstanding
member of the curly American left and author
uf "Ten Days ihut Shook the World.*’ While
Reds ix a huge spectacle with hig ciowds and
war scenes, it is also nn intimate and sensitive
film.

SHE DANCES ALONE - Kyra Nylnsky runs
away with this film originally intended for the
memory of her famous father, and displays a
splendidly disorganized mind and personality,
infuriating nnd fascinating at the same time.
The spectator will fee I as dismayed, and
enthralled tt director Robert Dornhcjm.

STAR TREK. — A two-and-a-half-hour film
with u 1 5- minute plot, using tho inspiration,
(fie uhurartero nnd the original layout of the
TV series!

TEMPEST — A successful architect, un-
satisfied with his life, his wife and his sur-
roundings, 1 takas a breather on a deserted
huiiiililul island, accompanied by his teen-age
daughter, a gorgeous drifter nnd a nol-io-
dumb native. Wise, charming and splendidly
performed .by John Cassavetes. Gena
Rawfa uds. Susan Sarandon and ftaul Julia, lo
mime just a row. of' nn outstanding cast.

THETftEE OF THE WOODEN CLOGS -
This is u -different kind pf film, without a plat
— no beginning and no end. Using the
simplest menus, Ermunp Olmi pinpoints the
mirucic of creations against the background of
v-ounlry.iifo in Yhe Bergamo Plain in Italy.
Sonic of tha films listed are restricted. to adult
■udlfncei^PlesK check with the dooms.

: l:\ ),

i :

1 rk

r ■

CONSIDERED 13 Y many lo be the
besi restaurant in Israel, Jaffa’s
Alluimbra is lucked away incon-
spicuously at .10 Sderol
Ycrushalayim, opposite what was
once the Alhambra Theatre.

I'nt a snob in reverse so it pleases
me that this restaurant is located in
a rather run-down urea, removed
from taried-up Jufta Fort, and the
instant glamour of North Tel Aviv. I
even forgive the rather creaky
stairway by which ore climbs to the
dining area.

The decor is also to my liking; it's
elegant without ostentation. There
are giant reproductions of tapestries
on the walls. Two of the most
exotic-looking waiters l have seen
in Israel added a touch of glamour.
One of them told us he was from
Tahiti: he hud decided to stay on
alter working here for the Club
M edit er ranee.

Perhaps because we hadn't had
our dinner, my companion
remarked, “He’s so cute, 1 could cut
him up." We chose our courses with
the help of a capable young woman.
It was only later we learned there is
also a printed menu.

I hud thought of beginning with
goose liver, but it wits pointed out
that it might be better us a main
course, ;is it was the specialty of
the house. However, I chose shrimp
thermidor — three giant shrimps,
split in their shells and baked with
cheese. They were delicious though
I fell afterwards that this wus not
the ideal way to serve them. But I

have become .so bored with the ubi-
quitous shrimp in butler and garlic
that I welcomed any change.

MY COMPANION tried the
calamuri in a sauce prove inhale. This
was tasty though far from exquisite.
One had no driving desire to sop up
every drop of snucc with the excel-
lent crisp roll provided. During the
first course I begun to have my
doubts about the reputation of this
restaurant.

[ was only' reassured at this point
by the wine, a bottle of Carmel
Mizrahi Sauvignon '79, but far bet-
ter than the u.suul wine with this
label. I can only assume that
someone has proiekzin at the
winery.

Bill any doubts I may have had
were quite resolved hy the main
course, it was two slices of grilled
goose liver, served over a sublime
cream sauce with mushrooms and
slivers of almonds. The combination
of flavours and textures was super-
nal. Here I put my roll to good use,
and I wiped up every last drop of
sauce.

Nor wus I any less impressed by
my companion's sen buss in sorrel
sauce, Sorrel is u clover-like herb,
with a slightly lemony taste, and it
grows wild anywhere in Israel when
the soil is well-watered. The slightly
sharp taste of the sauce blended
perfectly with the fish. Moreover, a
variation in texture was provided in
the form of slivers of a crunchy
vegetable (I think it was a Jerusalem

artichoke).

Equally impressive were the
rostli, a pancake-likc creation of
fried potatoes, and the simple but
exquisite creamed spinach which
accompanied the main courses. I
welcomed also a salad composed of
simple tender leaves of local lettuce
with a slightly musturdy dressing. I
was glud that the restaurant didn't

serve iceberg lettuce, which may be
a bit nicer-looking but lacks flavour.

FOR DESSERT, l attempted to
utone for my very rich meal with a
cooked orange. The bitterness of
the orange peel was just right after
all the heavy food. And the orange
sat in a pool of creaml My compa-
nion had a splendid, very thin

meringue with cream and praline,

The espresso was excellent.

The bill came to IS2.6I9, admit- j
ledly quite a bit. But l have paid !
more elsewhere for very much in- J
ferior meals. If your unde Seymour j
wants lo take you out, and money it j
no object, then the Alhambra is one
place where you won't find yourself l
apologizing for local restaurants.

This Week in lsroel*Thc lending Tourist GuideThi/ Week in IsrciehThe lecidin

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BEFORE TAKING MEDICATION -
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VAlfmoli nilViiheiA (ha animt^illSe felen nd > Ilf AmVDIim

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THE JERUSALEM FOQTUAilAZ&p

FRIDAY; MARCH Hi

’ I

No bleeps on Rrom

ROCK, ETC. / Mictial Yudelman

AFTER HEARING David Broza’s
sensual, romantic song “La Mujer
Quc Yo Quiero” (‘‘The Woman
with Me”) for weeks on the radio,
the wait is finally over. The new
album, named after this beautiful
song, has been released (CBS).

“The Woman with Me,” written
hy Joan Manuel Serrat, is translated
from Spanish by Yonathan Geffen,
as are nil the album’s songs but one.

1 don’t know what “The Woman”
sounds like in the original Spanish,
but Broza’s version is warm, intense
and utterly irrcsistahle. The other
.songs in the album, mostly love bal-
lads but also livelier Mediterranean
pieces, sound authentic and con-
vincing in Hebrew, while retaining
the flavour of Spanish bedroom in-
trigues, jealous husbands and so on.

"The Woman’’ is still my
favourite, but the soulful ballads
“Como Tu” (“Like You”, or “As
You Are”), “In the Seville River”
:uid ” Tiu Alberto” come close. The
closing track is a delight in itself;
written by Geffen nnd Broza it is a
lovely, bouncy, folksy combination
of Hebrew and Spanish.

Brozu will also be remembered as
the singer who brought the “bleep”
lo Israel radio. “The Woman with
Me” wus nt first banned on all but
the army radio station, because it
contains the word "zlyunlm" (fucks
in free translation): “The woman
with me — I’ve grown totally ad-
dicted to her. Friends, dogs, ducks,
games... I’ve given them all up for
her,” sings Broza mournfully. Galqi
Zahai continued broadcasting the
song several times a day, while
Broza and Gel fen protested that
English songs with four-letter words
are broadcast all the time on Israel
radio, so why shouldn’t their song
be beard? Then one day the song
was heard on kol Yisrael’s second
programme with n “bleep” instead
of the offending word. Not to worry:
there are no bleeps on the album.

The jacket design is pc rlcct for
the album: the pale, love-lorn face
of Broza is shown, eyelashes sadly
downcast, lips lainlly pink. The
classical image of the pining,
romantic lover. Brozu is responsible
for the musical arrangements
together with Louis Lahav, who also

did the artistic arrangement.
Background vocals by Miki Kam.
(iai YalTc and Anal Rckcni.

PAT BENATAR (could there be a
Jewish background behind a name
like thut?) is a rising rock talent of

the hard-hitting, unrelenting kind.
She lias not been given much atten-
tion in Israel so far, but maybe her
new album, Gel Nervous (CBS) will
change all that.

The one track here which is
already being heard quite often on

the radio is “Shadows of the Night,"
a captivating number you might be
familiar with if you heard Rachel
Sweet’s album And Then He Kissed
Me. which was released locally
several months ago. On Sweet’s
album, this song is designated as co-
written by Sweet and D.L. Byron.
But on Benalar’s album Sweet’s
name docs not appear, and Byron
Lakes all the credit. Anyway,
Sweet's version was superior, but
her entire album of honest, basic
hard rock was totally ignored on the
local market. Luckily, singers do
not depend on the Israeli market for
their success or the scene would be
a sorry one indeed.

Benatar’s previous record.
Precious Time, included the hit
“Fire and Ice" which made a brief
local splash, I recall. The new
alburn leans a bit too much towards
the co in me rein I side, with the
electronic backup mellowing and
balancing (not for the better) her
powerful voice. I prefer it hard and
undiluted.

On the pop scene we have Cliff
Richard's AW You Sec Me M >»■ You
Don't, lull of love songs by this
ageless teenage idol (who is in his
40’s) and Michael Jackson’s funkier
Thriller, which includes the highly
overrated hit "The Girl is Mine”
with Paul McCartney. Both these
albums (CBS) are polished, profes-
sional, beautifully produced and
mediocre. □

• : m ni

i'lUT

• !»:.!!
! VI . -

t 1 f| • .
i !

hi!

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JERUSALEM RESTAURANTS JERUSALEM RESTAURANTS JERUSALEM

uAt S&st, c dlm Sq
Somebody Qip 0li6foe QAiio
Cms ^o/iQJou

Had we listed all the items on our menus and all the extras we
give our customers, we’d have taken up this entire costly page.

1 We would rather spend the money on preparing’ better jood for

The Jerusalem Skylight
G Ball Room

AT THE 11 I ON TOWER HOTEL
II. Rl SALEM

Weddings - Bar Mitvahs - receptions - conventions - private parties

For details, call (02) 233281 -

We are on the 21st floor of the EILON TOWER HOTEL,

Ben Yehuda & King George St., Jerusalem *Cjp*

Offices bn the. IS Ih floor

GENESIS

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We offer a variety £ ^ \* /-<

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well as a large se- V

lection of wines for all tastes. Open for lunch:

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Live jazz three nights b week from 8.30 pm

with drinks, snacks and pates. Reservations

available by phone: (02) 2455 IS.

6 Hillel St Jerusalem Tel 245515

31 Mesilat Yeshdrim Street
■fat corner of Agrippasj
Jerusalem
Tel. (02) 227770

SABRA

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iiiiiH'i J.iM.i Rd . 1st Hoot

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CHUNG CHING

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|-Thi/ Week in l/mcl*The lend!

JERUSALEM RESTAURANTS

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Lathe selection or etnnic alines. |1
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Turn right before Paigai station and
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this week in
JERUSALEM

Courting success

CINEMA / Dan Fainaru

NOTHING IS more typical of Hol-
lywood’s David and Goliath syn-
drome than Sidney Lumet's The
Verdict. Everyone who has ever
rooted for the little man's struggle
to overcome not only corruption,
but the big machine defending it, is
going to come up smiling from this
Film. No-one will mind that the
proceedings depicted here are
strictly fairy-tale stufT, a movie con-
solation fpr things you know are
never going to happen in real life.

David Mamet's script, based on a
novel by Barry Reed, milks the
audience’s sympathy for the under-
dog every inch of the way. First, it
takes a long and laborious time es-
tablishing that it really deals with an
underdog. Frank Galvin is a Boston
lawyer who started out with all the
requirements for a brilliant career,
including a wife with highly-placed
relatives who secured him n junior
partnership in a big firm. But Mr.
Galvin hus one very serious short-
coming for a successful lawyer: he is
basically honest. This unwise trait is
his downfall, for he is rejected by
wife, firm, and Boston law establish-
ment. When we meet him first he is
n drunken, one-case'-a-year
mouthpiece, with only one friend,
his former tutor at the university
who now and again throws
something in his direction.

Such as, for instance, the
malpractice case against Boston's
Catholic hospital, accused of
negligent treatment resulting in a
young woman not only losing her
baby while giving birth but suffering
brain damage which has turned her
into a vegetable.

Everything seems to be plain
sailing. The hospital, the doctors in-
volved and the church don’t want a
fuss and suggest a handsome settle-
ment out of court. But trust Galvin
to bungle even this simple job, for
being the .knight in shining armour
who cannot stand injustice, he will
not accept any settlement that does
include the total unveiling of the
truth. Which is the one thing that
none of the plaintiffs can afford.
They are therefore left with no
alternative but a court battle, for
which purpose they hire the services
of the formidable Ed Concannon,
the fiendish legal wizard with an of-
fice full of busy little helpers finding
precedents, manipulating the media,
using every subterfuge to win.

Misfortune after misfortune is
piled on poor Galvin, but he refuses
to capitulate, and finally, through
the script’s 9heer willpower (for
there is certainly nothing in the
evidence or the presentation of the
case j In * court to warrant it), he
manages a brilliant victory Which
leaves even the crooked judge
speechless.

ALL, THIS Is not touch above the
average courtroom drama, and Bar-

one with a much greater appeal lo
cinema audiences, who have always
had a weakness for miracles.
Especially when they happen to the
blue-eyed, white-huired, slim und
handsome Paul Newman, whose
presence as Frank Galvin is a
guarantee, from the very first mo-
ment, that nothing really bad can
happen here.

Which should not detract from
Newman’s thespian qualities. Never
has he made less use of his physical
charms than he does here, and he is
certainly a much better actor than
lie is given credit for. At 57, he is
beginning to show some signs of
wear; but frail, lonely and helpless
us he may look at limes, sympathy is
so much on his side that no intel-
ligent Him producer would allow
anything less than complete victory
lo .crown his efforts.

Thanks to Sidney Lumet, who,
whatever else his faults may be, is
an excellent actor's director, there
arc some other remarkable perfor-
mances here, such as James Mason
playing the smooth villain Concan-
non, and Jack Warden as Galvin’s
past mentor and only friend.
Charlotte Rampling, on the other
hand, is given a thankless and en-
tirely superfluous part, which the
film, slightly over-long anyway,
could have done without. But one
can imagine some Hollywood
mogul screaming that a movie
without romance and a real love
scene is no movie at all.

From his own point of view, he
may be right. After two other direc-
tors (Arthur Hiller and James
Bridges) had been fired, and mega-
star (Robert Redford) by-passed,
the movie is now a blockbuster, a
contender for several Oscars and a
crowd please r. So even if the critics
are not ali that happy, who cares?
They don’t buy tickets anyway.

TO WRAP UP the Berlin Festivol,
some leftovers.

First, the prizes. As usual, they
had less to do with quality and much
rrfore with keeping os many partici-
pants as possible happy. The
Golden Bear went to the Spanish
The Beehive and the British Ascen-
dancy, both unadventurous, rather
traditional, polite statements con-
cerning a particular moment in
history.

The first follows the many
characters gathered in a Madrid
cafi during World War II. ft is a
static, wordy movie based on a
famous novel but missing the
elaboration of the written page; The
second is set in Belfast, in 1920,
while the wounds of World War I
have not yet healed and the wounds
Qf the civil war are already overlay-
ing them. , There are many well-
intentioned hints' of pain and
despair here, but nothing new.

average courtroom drama, and Bar- either ' ih - m B : I„Ti ’ ’
^ dldnothidehis disappoint- cinematograph kally * ° f
men at . the film s missing the main - Fof the-lSrd World there was a
pom he was trying to make hi hip .* S

.novel. This was that. there Is a coil- deservedly tO'jfcScidMft in ffnklmi-t
spiracy of. silence m both the legal from ; Turkey . • For the -French whb
and medical ; brotherhoods which / , were dorMy

.as :

arniic^i

~ resumaiM row .!: •

prestige after Sophie’s Choice was
pulled out of the programme at the
Inst minute. And the Soviets
couldn’t complain either, for
Yevgenyn Gloushcnko. the leading
actress in n harmless, cute comedy
entitled Love by Request was
rewarded with an acting prize she
probably never dreamed of.

An Ethiopian director working in
the U.S. imparted un eerie feeling
of familiarity to an Israeli spectator
with his Ashes and limbers. The
movie deals with black veterans
coming back Train Vietnam, with
their own terrible nightmares of the
war, lo face a social and politics!
reality in which they feel rejected.

At least two scenes in the Film were
absolutely stunning for us: in the
first the veteran meets his grand-
mother, the perfect prototype of the
Yiddisltc Momma. In the second, he
meets some of his “black brothen' 1
who have stayed behind and finally
explodes in face of their righteous,
pompous, self-satisfied arguments.

Agonla, (he mammoth Soviet
portrayal of the Rasputin saga,
which was left on the Russian
shelves for several years, attracted
full houses. They were full of ad-
miration for the visual splendours
and the power of certain sequences,
but were rather disappointed not to
find anything more subversive or
original in the interpretation of the
historical phenomena leading to the
October revolution.

Probably equally disappointed
were those who expected a tourist's
delight in Lisbon to be the core of
Alain Tanner’s In the White City, the
tule of a Swiss sailor stranded in
Portugal. This bizarre parable of
voluntary Swiss immobility, or of
(he extreme loneliness of the old
world facing the gate to the new
world, featured what was con-
sidered the best male acting perfor-
mance of the festival, that of Bruno
Ganz. But the jury must have con-
sidered Gflttz loo confirmed a
talent, or too often rewarded, to add
one more prize lo his roster.

Incidentally, this was one of
several multilingual movies In this
festival which allowed characters to
speak in their own mother tongue-
English, French, German, Pop
ittguesc or whutever — something
llml cinemu is, nt long last, happily
leurning lo cope with.

FINALLY, a Syrian movie, The In-
cident of the Ha(f Meter, turned ffl|l
to be it surprise item, a
critical, lucid yet simple story abom
n young suite employee, a sort o'
Mediterranean reflection of W.
typical Gogol hero. Author-director
Samir Zikrn pinccs his story on the
eve of the Six Day War, and.leaM
his characters through a senes oi
situations that give a very unnaiter-
ing reflection of the Syrian mtow
class. In the office, nobody doeBSoy
real work, and every inquiry
answered by “Come back in <
duys,” As news of the situation on
the border filters through, no one
feels he is personally qualified
fight, but everyone agrees that I ■■
someone ought to do so. There is ’
tie expectation that Israel :an
brought to its knees, hut when
Damascus radio tells them
hundreds of Zionist airplanes W
been brought down by the
pilots, everyone claps happy*
When the truth finally is out, ,^i.w '
one can fathom what has rewiyjr

pened, the protagonist is show

the last shot, walking home iq-
sound of a news bulletin bla rin Sj.^;
of open windows. And as he — >
his own fiat, the announce* .into?"
his audience that *hey hav *
listening to Kol Yisrael. Qdite . ^
ing, ~~

Problem No. 3111
L. JOKISCH
1888

— W — 55*9! — Wl —

H H M&wt

MP. &H3 a SMS i

White mates In three (3-3)
SOLUTIONS. Problem No. 3109
(Herlzfeld). l.Rgl It fgQ 2.Bg!t (2
3.Bh2 f3 4.Bc7x.

NATIONAL TEAM
CHAMPIONSHIP
Y.AFEK H. SCHEINWALD
(Tel Aviv Youth Club I)

(Rlshon Lezion)
l.e4 c5 2.Nf3 d6 3.d4 cd4 4.Nd4
Nf6 5.Nc3 e6 6.Bc4 a6 7.Bb3 Be7
8.Be3 0-0 9.g4 Qa3 10.QF3 Nc6
II.Nc6 bc6 12.g5 Nd7 13.Rgl d5
14.0-0-0 Rb8 l5.Qh5 g6 16.Qh6 Re8
I7.ed5 cd5 !8.Rg3 Bf8 19.Qh4 Bg7

20.Bd4 e5 2I.Re3! Rb3?I 22.ab3!
Re6! 23.b41! Qb4 24.Nd5 Qa4

25. Ra3 Qc6 26.Rc3 Qb7 27.Be3 e4

28. Bd4 Ne5 29.Nffi Bf6 30.Be5 Re5
3l.gf6 h5 32.Rd8. Black resigns,

MUREY WINS
CHAMPIONSHIP
IM YA’ACOV MUREY won the
Israel Open Championship in
Beersheba with a 7-8 score. Tied for
second were deputy Israel cham-
pion Alon Grinfeld, Michael Dicker
and Yohanan Afek, with 6 points
each. Tied for third were veteran
IM Moshe Czerniak, Eliahu
Shwidler, Yanko Koppel, Jorge
Kueliar, Amatziya Avni and Boris
Yartzev, with 5/i points each. Fifty-
Tour players took part in the event.

R1SHON LEZION HANUKKA
FESTIVAL

R. SHABTAY M. KAGANOVSKY
l ,e4 c5 2.Nf3 d6 3.d3 Nc6 4.g3 g6
5.Bg2 Bg7 6.0-0 e6 7.Nbd2 Nge7
8. Re l 0-09. Nfl Rb8 10.c3 Qb6 1 1.
Qe2 Ne5 12.Ne5 de5 13.Be3 Qc7?
I4.b4! b6 lS.bcS bc5 16.Nd2l f5
I7.DI c4l 18.N C 4 Ba6 19.Rabl Rfc8
20.Rb8 Rb8 2I.Rcl f4 22.BI7 Bh6
23.g4l Bc4 24.dc4 Qa5 25. c5 Qa3

26. Rc2 Rbl 27. Bfl Bft 28.Qc4 Kf7

29. Rd2! Rci 30.Rd6 Qc3 31.Qe6
Kg7 32.QT6. Black resigns.

ARGENTINIAN GRAND PRIX
BY WINNING a last-round game
from GM Oscar Panno, young IM

Daniel Campora emerged llic victor
in the second Argentine Grand Prix.
Final results: Campurea, 8-9;
Schweber and Panzeri, 7 ft; Panno.
K. Garcia, Borghi, Bruga. Morovic,
R. Gonzales and Vives, 7 points
eucli.

CAMPORA MOROVIC

I.e4 c5 2.Nf3 e6 3.d4 cd4 4.Nd4
Nf6 5.Bd3 Nc6 6.Nc6 bc6 7.0-0 d5
8.e5 Nd7 9.Bf4 Be7 10.Nd2 0-0
II. Re I Nc5 12.Bh7 Kh7 13.Qlt5
Kg8 !4.Re3 f5 1S.RH3 Qe8 !6.Qh7
Kf7 !7.Rg3 Rg8 18.BH6 Bf8 I9.b4
Nb7 20.Nf3 Nd8 21 .Nh4 Rb8 22.Ng6
0d7 23. c3 Rb7 24.Bg5 a6 25.Nh4
Be7 26.Bh6 Qc7. Black resigns,

CAMPORA PANNO

l.e4 c5 2.Nf3 e6 3.d4 cd4 4.Nd4
Nf6 5.Nc3 d6 6.g3 Nc6 7.Bg2 Bd7
8.0-0 Be7 9.a4 a6 lO.Rel Rc8
l I.Nc6 Bc6 12.a5 0-0 13.Be3 Nd7
M.Na4 Ba4 I5 .Re 4 Qc7 I6.c4 Ne5
17.BFI Bd8 18.f4 Nc6 I9.b4 Qb8
20. Re 2 Bf6 2l.b5 Ne7 22.Rd2 ab5
23. cb? Bc3 24.Rd3 g6 25. a6 ba6
26.ba6 d5 27.a7 Qb2 28.cd5 Nd5
29.Rd5 ed5 30.Qd5 Ra8 31.Qa2 Qb7
32.Bg2 Qc7 33.BT2 Bel 34.Bd4 Qd7
35.Ba8 Rn8 J6.Qb3 Qe8 37.Qd5 Bd2
38,Qc5. Black resigns.

NEW YORK 1982
THE SWEDISH IM Christer
Niklasson made a very strong come-
back to the ches? scene when he
shared second prize in the Chess
Centre Fall International in New
York. The winner of the event was

IM Kudrin with a 8-1! score.
Niklasson tied for second place with
FM Shipman, half a point behind
the winner.

FRUMKIN GOODMAN

I.Nc3 g6 2.e4 Bg7 3.d4 d6 4.Nf3
a6 5.Be2 b5 6.0-0 Bb7 7.a3 Nd7
8. Re I c5 9.d5 Ngf6 lO.Bri Nb6
1 1.a4 h4 12.Nbl n5 13 .c 4 0-0 14.h3
e5 I5.de6fe6 I6.e5 Bf3 !7.Qf3Nfd7
IS.Qg4 Ne5 l9.Qe6 Kh8 20.Rdl Rf6
2l.Qe5 dc5 22.Rd8 Rd8 23.Bg5
Rdl. White resigns.

BRILLIANT TOUCH
White — Kgl; Qe2; Rdl; Nf3;
Pc4, d5. g2, h4. (8). Black - Kg8;
Qb3; Ra6; Bf6; Pa4, b7, e6, e7, g6.
h7. (10). Black to play.

I. — Qdl 2.Qd3 a3 3.d6 ed 4.Qe2
u2 ! 5.Qe6 Kg7 6.Qd7 Kh6 7.Qf7 alQ
8.KH2 Be5 9.g3 Qfl 10.Qf8 Kh5.
White resigns. (Bischel-Lobron,
Lucerne, 1982.)

MISSED OPPORTUNITIES
White — Kg2; Qd5; Rc8; Bd3,
Bg3; Pa3, b2. (7). Black — Kf6;
Qe5; Rg4; Bd6; Pa6, b7, f2, g5, g7.
(9).

While missed the winning line:
I.RfSl Ke7 2.Qf7x. (Poliakov-
Klimnkov, USSR, 1982.)

NATIONAL TEAM
CHAMPIONSHIP

KJRY'AT SPRINZAK, a newcomer
lo first division, played a leading
role in the second round of the
National Team Championship. In

the meet with Hasharon/Herzliya
Hapoel, Michael Marnntz of Kiiyat
Sprin/ak beat senior master
Amikam Balshan lo give his team
the lead. The second point for
Iviryul Sprinzak was achieved by
BLaustcin, who beat On, and the
final result was VA-IVi.

The league champions,
Beersheba, had to be satisfied with
a draw against Tel Aviv University
ASA. On the top board, Alon
Grinfeld defeated Shimon Kagan;
Lederman lost to Kraidman;
Schwidler beat Avner; Gitterman
went down to Stepak; Dicker beat
Kaldor; and Koppel lost to Carmel.

Rishon Lezion Feldkleln, which
suspended Natan Birnboim for one
year, unexpectedly lost to
Jerusalem ASA, 2 Vi-3 Vi , but on the
top board Libenzon beat Veinger.

Haifa Technion ASA beat Ramat
Gan Hapoel 4-2, Bleiman defeating
Murey on the first board. The Tel
Aviv derby was won by Youth
Centre II, which beat T.A. Youth
Centre I 314-214. Veteran inter-
national master Moshe Czerniak
beat Yohanan Afck on the first
honrd.

ENDGAME FINESSE

While — - Kh4; Be5; Pc3, f4, g4,
h3. (6). Bluck — Kh7; Rg2; Pd5, e6,
g6, h6. (6). Black to play.

I. — Re2 2.Bd4 e51 3.fe Rg2! 4.e6
gS 5.KH5 Rh2, and Black won.
(Engel — Hansen, West Germany,
1981/82). □

-Thi/ Ukck in 1 /rocFThc lending Touri/I GuicJc-Thi/ Week in 1 /mcFThe lending

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Thi/ Week in l/rael

The leading Touri/t Guide*

TO

EXHIBITIONS

this week

the israel museum
Jerusalem

Permanent Collections of Judaic*. Art and Archaeology
Bezalal 1906-1929 — works produced at Bezalal, the first school in Eretz
Israel lor erts and crafts
The Art of Bezalal Teachers

Portables — an exhibition from the Museum's collections of archaeology,
ethnography, Judalca, art & design
Primitive Art — from the Museum's collection

Letterhead i by Pentagram — over 100 examples of personal end corporate
letterheads by a leading British design group, 1966—1982
Kadosh Samoa — at the Rockefeller Museum

How to Look at a Painting — by courtesy of Marianna and Wal » Grlessmann,
London, and Dubek Lid.

Illuminated Haggodoth of tha 18th Cantury - by courtesy ol Yonai end
Michael Fiaoraheim. From March B.

SPECIAL EXHIBITS

Japanose Miniature Sculpture

Pilgrim Souvenir Objects and Christian Lamps

Clay Jug and Juglat

Seder Plata - Vienna, Austria, 192S

EVENTS

CHILDREN'S CONCERT

Sunday, March 13 at 18.00

DANN1 GOTFRIEO'S JAZZ QUARTET

Explanations of the basics of Jazz arB accompanied by a demonstration and
performance of soma of the world's best known pieces and new compositions
CHILDREN'S FILM

Mon., March 14; Wod., March 10; Thurs.. March 17 Bt 16.30
"ADVENTURES OF YOGI BEAR" - cartoon

ETHNOGRAPHY SYMPOSIUM (IN ENGLISH)

Monday, March 14 at 20.30

ISRAELI ANTHROPOLOGY IN THE YEAR 2000 - A VIEW TO THE
FUTURE. With Prof. Mallard Spiro, University ol California. San Diego;

Prof. Victor Turner, University of Virginia.

CREATIVE THEATRE FOR CHILDREN
Tuesday, March 16 at 16.00
WORDS AND A PLAY

This event defines the relationship between literature and theatre.

Under tha direction of Dorlt Rivlin (at the Youth Wing)

FILM

Tuesday, March IE at 18.Q0 & 20.30
"THE LAST PICTURE SHOW" IU.SA. 1971)

Dir. Peter Bogdanovich, with Timothy Bottoms, Sybil Shephard
LECTURE (IN ENGLISH)

. Wednesday, March IB at 20,30

illustrated PERIODICALS IN ART AND
• u * F * aclM - Dhactor of "Herzog August Bibliothek", WolFen-
buttei (in co-operation with the Art History Dept., Hebrew University)

LEQTURE (IN ENGLISH)

Thursday, March 17 at 20,30
"ZEITGEIST'' ;

A basic turn in the plastic arts at the beginning of tha 1 980s. Prof. Christof
LondS? ^ Brt " llC fllld curawr ol thB B * h 'fr*fOn "New Spirit in Painting-

CONCERT

Saturday, March 19 at 20.30

r ™ E ^LV WOMAN" - music and theatre for soprano end piano.

SKLWiS^ , aS™ no; Ru,h M,n “- piana Work ‘ **

. RUTH YOUTH WING

For information on Youth Wing activities prease phone (02) 633278
GUIDED TOURS IN ENGLISH

Museum: Sun., Mon., Wed,, Thurs. at 11. Q0; Tuea. at 16.30
Rockefeller Museum: every Friday at 11.00
* Archaeology Galleries: Monday, March 14 at 16.30

Bicomea Ideal Patron ("Shoher") of tha Israel Museum. For daiaifs please
contact (02)661861. ’

Student memberships now available.

I I ,

VISITING HOURS:

■ ISRAEL MUSEUM; Sun., Mon., Wed., Thurs. 1Q-17:Tuea. 16-22;

: Fri.aSat. 10-14 -

SHRINE. OF THE BOOK: Sun.. Mon., Wed.. Thurs. 10-17; Tues. 10-22;

, 1 Fri. &Sat. 10— 14;

BILLY HOSE SCULPTURE GARDEN: Sun.— Thurs. 10— sunset; Fil„ Sat. a
holidays 10-14.

ROCKEFELLER MUSEUM: Sun.~Thurs.10-17; Fri. ft. Sat. 10-14
• MBR ARY: Sun.. Mon.. Wad., Thiirar 10-1 7; Tubs. 16-20

. GRAPHICS BTUDY ROOM: Sup., Mqm., Wed., Thun. 11 -13 ; Tubs. 16-20
•TICK ET ' FDF| BATLmpAY: Available in advance at’ the Museum and at the
<• ‘ • * f cket agencies: T$l Aviv — Roijoco/Etzion. Le'an and Caatal; Jerusalem s -
. -i l^la'snn. •' ' . ' ■ «■

THE FtRSTtNTERNATlONAL BANK

Monologues in movement

KAZUO OHNO moves on the stage

like a slowly-changing painting, u~n- fl iPTAITNJ C A I I
Folding and composing emotions in LURlAlli

ihe glare of a single spotlight from Marsha PomerantZ
just below the front or the stage. His -

work combines the micro- ' —

movements of Japanese dance and °* n muscl ” and the thick while
perhaps the Onnagata tradition of P a ' nt on * 1 ' 8 *® ce - He uses a few
Japanese theatre — men playing other props as well: a long-stemmed
roles of women, down to the most J rtiricial flower, for instance, which
subtle and exquisite gesture — with . he can smell or try to pick petals
the music of Puccini or Bach, or the l f om * or use to sweep the floor or
recorded sound of the sea, or tickle hi ms elf.
silence. ' What he does demands almost ex-

He was on stage in Jerusalem, cruc »«ting concentration of the
Haifa and Tel Aviv in the past two aud ience, and in the jammed
weeks, combining — he seems a ““ditorinm at Bat Dor in Tel Aviv,
master of mixture — his perfor- cn thusiasm, puzzlement and ex-
mances and a workshop for acting haustion were all in evidence,
students with visits to the Christian There is humour in his work, but
holy sites. the question of when to laugh was

The first two dances, or one source of the audience's embnr-
monoiogues in movement, were rassment. For his most obviously

nnrlrnuolc nfiuiia.... Hu » ■ . J ■ . . -

students with visits to the Christian
holy sites.

The first two dances, or
monologues in movement, were

i,i ■iiuvcmciu, were • rur ms most ODViously

portrayals of women: "Admiring La funny dance he was dressed in a
Argentina" and “My Mother." ■ white shirt and baggy black suit; his

fjhnn U/hrv it 17 «L. avn naa.fli.J

Oh no, who is 77, presented them at
La Mama in New York several
years ago, and wrote a description
of their genesis on that occasion. He
first saw Ln Argentina, he says,
“from the third balcony of the
Imperial Theatre in Tokyo in 1928,"
and though he sough! her long
afterwards "she never showed up in

exaggerated gestures — exag-
gerated only in the context of what
he’d done earlier — suggested a
parody or Western movement.

His encore was particularly mov-
ing, and perhaps most revealing of
himself. Over his "Western" suit he
put on a bamboo-patterned robe
which was always slipping off in

. „ oHuwwupin always Slipping off in

front of me ogam, even though she carefully-controlled accidents, and
was hiding deep within mv soul ’* which he inmnllmi. ..... I

was hiding deep within my soul ”
He "found" her 48 years later, in
a painting by Natsuyuki Nakanishi,
who “had never seen La Argentina
dunce "and . probably never heard
about her." OhnoV "Argentina"

, — auu

wnicn ne sometimes wrapped •
around him instead of wearing. U
seemed a perfect expression or the
blend of East and West which must

be the source of his pain and his
power.

“ ru^lULlia 1‘wnw.

composition was born out of (hat M U M M ENSCH a l iSV ' *' . ' •
encounter wul, his own n^'ory, ; group

CLOTHING - applied or removed Srcnt 'i? ' dif ‘

- « P ar ‘ oF his dunce, mid he seems : Its second vsiiinl" 8 for .

to control Uie creascs in a cloak or, com^sfrrim th ■£ Srae 1 name

shuwl * completely * he ij ^

OB IBRtSAUlM fOBT !' -■ .. ^

ivt ^ V.-f ?;;£•- U- : ;"

originally referred to the practice of
using musks to hide facial expres-
sions during games or chance in the
Middle Ages.

The group describe some of whal
they do os "living sculpture,” in
which breathing bodies encased in
cushions und roam give a special
character to changing shapes.

1 haven’t seen them yel, and can't
describe the fun of it, but was in-
trigued by the "Technical Require-
ment Sheet" they send ahead to the
hulls where they’ll be performing-
Instructions to the carpenter begin:

"The company docs not carry
uny teasers, tormentors or any other
basic sutgc drupes. Each theatre
must provide the necessary mask-
ing, l.e. black drupes... Upstage
masking should be no wider than
necessary to musk."

Then there is n section ubout
props:

“The company requires from UK
sponsor upon urrivnl, for several
masks used in the show: I pound of
flour, 1 cup of sugar, V \ pound of
butter (not margarine), I
whole milk (not half and half)- 11
promises to be a rich programme.

Members of the company coming
to jsrael are Lydia Biondi, who was
born in Tuscany and has experience
in classical dance, experimental
theatre, mime, film and TV; Peter
Gerber, from Zurich, who got an
M.A. in geography before he wen*
into mime and acrobatics; and AWj
jnndro Moran; who was born in
Mexico City, studied at tn
Nutiorial Institute of Fine *7:
there, and eventually went back
leach. . Gerber studied corporeal
mime with lEtienne DecroUx. a P” ■
Morun studied with Jacques Lecoq-
Which nil ndds at least another P 1
ofej-eam.

I FRIDAY, MARCH 1L ^

! i W

■ ! .ill!'

• I .!!!

epace

l-Thi/ UJeck in l/mel-The len<Ji

TEL AVIV RESTAURANTS

■ ?!!,!=•;

ONE OF America’s most gifted
younger choreographers, Rodney
Griffin, recently visited Israel and
created a work for the Bat- Dor
Dance Company. He chose as hia
subject Jeremiah and the music of
Leonard Bernstein's first
symphony, also called by that name.
In one section a voice sings verses
from Lamentations, traditionally
attributed to Jeremiah.

As presented by Bat- Dor in its
theatre in Tel Aviv on March 3,
Griffin’s work was divided into
three "movements." In Prophecy, he
focused on the solo of Sam Mc-
Manus as the central figure among
the people, the costuming in-
dicating that some were from the
royal court of Judah and Israel; they
included those who "obeyed not nor
inclined their ear." In Profanation
with Miriam Paskalsky as the sym-
bol of seduction, he created a scene
of revelry by simple-subtle means —
with terrific pace rather than ex-
travagant abandon. This was
actually the most effective section,
though the emotional peak came
in Lamentation, with Jeannette
Ordman as the personification of
Zion, her solo expressing the suffer-
ing of Jerusalem of which Jeremiah
said, "Behold and see if there be
any sorrow like unto my sorrow."

According to tradition, Jeremiah
had a vision of a woman in black,
who called herself "Mother Zion,"
sitting upon a mountain and weep-
ing: "Who shall comfort rtte?" But
the costume designer (Doreen
Frankfurt) wisely chose dark
maroon with a streak of grey for
Ordman. This showed up sombrely
but tellingly against _ the red and
other glowing colours of the com-
pany — - but was this not an occasion
for long sleeves for the mourning
figure?

THE DANCING was exceptional
throughout, but somehow the result
was not quite as good as it should
have been. McManus is an excel-
lent dancer and could not be faulted
technically. He performed his part
with dignity, even nobility and
devotion, ; bul : he did not project the
larger-than-life’ stature of a man
who, while going Through his per-
sonal agdnies, was as a prophet se-

FRIDAY, MARCH U, 1983

DANCE
Dora Sowden

cond only to Isniah.

To that extent McManus did not
realize the potential of the work,
which is so cleverly suited to the
music (among Bernstein’s best) and
is ingeniously built without mime or
story line to convey the course of
the Jeremiad, its denunciation of
evil, its fearless predictions and
devout faith.

Also on the programme were
Matthew Diamond’s Twilight
Concerto (as buoyant as ever), Paul
Taylor’s 3 Epitaphs (as droll as ever)
and John Butler’s Othello (more
stunning than ever).

AMOS HETZ, who is in charge of
the movement section of the Rubin
Academy Dance Department in
Jerusalem, teaches methods based
on Noa Eshkol’s system, combining
diagrams with diagrammatic moves
in streamlined motion. On March 2,
he gave second, third and fourth-
year students the chance to
choreograph mini:performanccs of
their own devising. The results were
most interesting where they kept
most closely to his principles and
did not push themselves beyond
their capacities.

Hetz's methods are undoubtedly
a valuable adjunct to dance, as-
sisting fluency and flexibility, and
promoting rhythmic sense and
awareness of phrasing in movement.
Whether the students moved in
silence or to the lick of a metronome,
or. recited poems or sang songs, there
was rationale in their scenarios. A
combination of metronome and voice
(speuking or singing) was an ad-
mirable development, making the
beat less of an Inexorable command
and adding significance to the
stretching, turning, rolling, bending,
curving, Spiralling and somersaulting.
The group of five girls who sang while
they maintained design, without stops
or pauses but in continuous llow, were
the best performers;

ALTHOUGH Timi Kedar
.wore no high Japanese black

wig (her own hair being clipped
close to the skull) and used no
traditional white-face-mask make-
up, there were moments when she
looked like something right out of a
Japanese print. She was performing
on March I in the small hall of the
Binyenei Ha’uma; the evening was
arranged by the Jerusalem branch
of Lions International in aid of their
charitable funds.

In front of a beautiful Japanese
screen, her traditional movements
from old-time Japanese classical
dance never went beyond the limits
of the small carpet, but never
seemed limited. Gestures and the
manipulation of a fan provided their
own dynamics. Later, her dances
were of her own choreography,
based on Japanese techniques, to
poems by Lea Goldberg und ihe
Spanish poet Lorca. Two fine musi-
cians — flautist Amir Sela and har-
pist Ruth Maayani — accompanied
the dances and contributed other
works separately and together. The
poems were read, in Hebrew, by
Orly Mora.

RINA SHAHAM is rehearsing a
new programme which she plans to
call Jungles. Some of the music is
being composed by Daniel
Swartzman, and three poems by
Israeli poet Yehuda Amichai will
also form part or the accompani-
ment. Dancers, besides Shaham,
will include Sonja Rupilz, Ellen Sue
Swerdlow, Erez Levi and Amici
Malaleh.

NEWS FROM New York is that the
Bolshoi Ballet dancers Leonid and
Valentina Koslov, who escaped
from the Soviet company during a
tour of the United States in 1979,
will join the New York City Ballet
as principal dancers. They will
begin rehearsing in March and will
perform for the first time in April at
the New York State Theatre in Lin-
coln Centre.

The Koslovs visited Israel some
time ago and have ance danced
i with outstanding success, in
Australia with the Australian Ballet.
Recently they appeared in the pre-
Broadway run of On Your Toes at
the Kennedy Centre in
Washington. .□

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THB JERUSALEM POST MAGAZINE

Thi/ Week in 1/roel‘Thc Icodii

SERVICES

VISIT TheWeizmann Institute of Science
TheWeizmann House, Rehovot

Tha UVsizmann Institute is open to the public Sun.— Ttiurs.,

8 am- 3 .30 pm; Friday, 8 am— 12 noon.

Tha We I z man n Houca is open Sun.— Thins.. 10 am -3.30 pm; closed on Friday.
There is a nominal fee for admission to the House.

For group tours of tha Weizmann House please book in advance by calling (054)
83230 or 83328, and of thB Weizmann Institute by calling (054) 83507.

Visitors to the Woizmann Institute are invited to an exhibit ion in the Wu
Library on the life of Israel's first President. Dr. Chaim Weizmann, as wall at
an Hudiovisual show in the Wix Auditorium on the Institute's research
activities. The latter is screened daily at 11 am and 3.15 pm. oxcept on
Friday, when it is shown at 1 1 am only. SF>ociiil screenings may be ai ranged.
ts— — — . NO VISITS ON SATURDAY AND HOLIDAYS — ^

PIONEER WOMEN
„ NA'AMAT

Tourist Department Morning Tours

Call Inr lesoi vntions:

Tnl Aviv: Histadmt Hendqumtors
‘J3 Arlosoioff St.. Tel. (03) 3G60U6, 43U14I
Jerusalem: 17 Strauss St., Tol. (02) 221031
Haifa: Tfll. (04) 041781 oxt. 241
See the inspiring work of Pioneer Woman In
Social Service Institutions throughout Israel

/ o o o\

(yivyft)

TEL AVIV

MUSEUMS

Beth Hatefutsoth

Nniumi Goidivutuit Museum of the Jewish Diasporn

visiting hours: Sun., Mon., Tubs., Thurs.: 10 arh- 5 pm; Wed.: 10 am-9 pm.
The Museum is dosed on Fridays and Saturdays.

— Children under 6 not admitted.

— Organized tours must be pre-arranged. Tel. (03) 425161, Sun.— Thun.
9 em— 1 pm.

Permanent Exhibit — ThB main aspects of Jewish Ufa in tha Diaspora, past
and. present, presented through the most modern graphic and audio-visual
techniques.

Chronosphara — A special audio-visual display presented in a planetarium-
shaped auditorium depleting the migrations of the Jewish people.

Exhibitions

1. Jewish Sites In Lebanon - Summer 1982. Photographs: Micha Bar-Am.

2. Tha Living Bridge - The Meetrng or the Volunteers from Eretz Israel with
the Holocaust Survivors.

' 3. The Jews of South Africa.

Events

1. "My Diary 'from the Kovno Ghetto", sixth lecture in the series in English
"I Was There — Eye Witnesses to Events in Modem Jewish History". Lecturer:
Adv. Avraham Tory,

Tuesday, March 1 5, 1983, at 8.30 pm.

2. "The Meeting of tha Volunteers from Eretz Israel with tha Holocaust Sur-
vivors", an evening of interviews. Interviewer: Yaron London.

Wednesday, March 16, 1983, at 8.30 pm.

Jewish Cinematheque

Screening of the film "Jacob the Liar": Monday, March 14, 1983, et 8,30 pm;
Tuesday, March 15, 1983, at 8.30 pm; Thursday, March 17, 1983, at 8.30 pm.
The film is In German with English subtitles.

Admission feet: IS 70 — members of Friends Association; IS 90 - non members.

Courtesy of

bankleumi^niMSpn

Exhibitions on Tour

1.,Thri Jaws df San' a -Hazor Haglilit.

% ,Tno VVoridarlui Ijtinu of DjerWA' Ma
3. AVMfHwIda Philanthropic Empire -

2. Wonderful Iflind of 'DJerbflT - Mat nos, Pardes-KfUz.

3. AWdffifwfde Philanthropic Empire - Pedagogic CenTdr, NetanyaT. '

4. Scrolls of Fire -i.Ofakiny

B. ; Libya: An Extinct Jewish Community — K tryst Share t, Holon.i
in copperetioh with-Merkaz Heh'f.sl^ij.a and ccurtesv pf ■ •

. : • 3Ki*ftAst^ V’

Beth Hatefutsoth Is iucated on the campus of Tol Aviv University (Gate 2)
Klausiiar St., R artist Aviv. Tel. (03) 428161. ■ . r*.

Buses: 13,24, 25,27,45, 49, 74, 7| 9;274,*57^.

AS THE SERIES of profiles on
Israeli composers in this column is
designed not in alphabetical order
or according to the comparative im-
portance of the subjects, but in con-
nection with a special occasion —
an anniversary or a prize or other
honour — the choice this lime falls
on Josef Tal, the only Israeli
recipient of this year's Wolf Foun-
dation Prize.

The Wolf Foundation was
created by Ricardo Wolf, who left
his native Germany Tor Cuba before
World War I and was appointed
that country's ambassador to Israel
in 1961, retiring in 1973 and
settling in Israel until his
death two years ago at the age of
93. A noted chemist and inventor,
as well as a philanthropist, Dr. Wolf
established the foundation in 1975
"to promote science and art for (he
benefit of mankind. Each year, six
international awards arc presented
Id outstanding personalities in the
fields ol physics, agriculture,
chemistry, mallicnmlics, medicine
and the arts — the latter being allot-
ted tli is year to music. In addition to
the internaiional prizes, the fund
also awards scholarships and
research grants to Isruelis.

Tal will share Ihe honour (and the
financial award) with Vladimir
Horowitz and Olivier Messiaen.
Horowitz, 78, is honoured Tor his
"outstanding contributions to the
art ol musical interpretation and es-
pecially his inusiealization of
pianism,'* as the press release
describes his qualification. Mes-
siaen. 74, is cited for "inspired and
inspiring extension of our world of
sound." Tal. 72, is described only as
"one of Israel's foremost
musicians."

JOSEF TAL, was born in 1910 near
Po/.nan but was brought up in
Berlin, where he also finished his
studies. He came to this country in
1934 and joined Kibbutz Ashdot
Yu'acov in the Jordan Valley. The
kibbutz hud no use Tor a pianist and
a harpist, but the secretariat took
care lo assign him only to work that
would not hurt his fingers.

In 1936 he joined the staff of the
Palestine Conservatoire in
Jerusalem, founded by Emil
Hauser, to teach piano and com-
position. After the founding of the
state,- he directed the Israel
Academy of Music in the capital for
a number of years, and in 1951 also
became a lecturer in music ap-
preciation at the Hebrew Univer-
sity. In 1961 he founded the Centre
for Electronic Music ns an indepen-
dent institution within ihe univer-
sity. serving for some years also as
chairman of its department of
musicology.

A prolific composer, Tal quickly

Non-conformist

MUSIC & MUSICIANS / Vohanan Boehm

Hamburg Opera and premiered
there in 1971 ; Masada 967, first per-
formed at the Israel Festival in
1973; and Die i'ersuchung ("The
Temptation"), written for the Slate
Opera in Munich (1976).

Six piano concertos — three of
them with magnetic tape — indicate
his instrumental preference, but he
has also written concertos for the
cello, the flute and the viola. In 197 1
he composed a concerto with
magnetic tape for the famous harp
virtuoso Nicunor Zabulctu, which
was one or the main works per-
formed at the Iasi International
Harp Contest iii Jerusalem in 1982.
Three symphonies, three string
quartets, compositions for a variety
or instruments and ensembles, can-
tatas and ballet music mHke up nn
oeuvre which -rtlesls to his impor-
tance as a composer.

THOUGH HE WAS the first Israeli

became known ns one of the out- . composer to occupy himself with
standing personalities in (His field, the new medium of electronics, us-

and his many prizes and awards
bear witness lo the reputation he ac-
quired in these years. Twice
recipient of the Engel Prize (1949
and 1958), he won an award at the
International. Society of Contem-
porary Music Festival in Haifa in
1954, the Nissimov Prize in 1956
and, finally, the coveted Israel Prize
in 1970. The following year, the
Berlin Academy of Arts made him a
member and in 1975 he Was
awarded the Arts Prize pr the City
of Berlin.. In. 1981, Tal was made ah

ing it widely in many of his composi-
tions after 1961, Tal did not make it
his exclusive means of expression.
The same applies to the 12-note
system with which he experimented,
but which he did not accept gs the
one and only method of composing.

Although he chose many subjects
from the Bible or Jewish history, he
did not conform to the general
trend in the early decades of Israeli
composition which, trying to find a
synthesis .between- Eastern .and
Western musical Idioms and iradir

iSSH ft ??H be /^°. f th ' U ’ S '\ l . , ? a ns Y. resulte ^ > n ■ hybrid -called lo form the Basle Music Acadern
A L - K u- S ‘ ’ McdlUj ™»nean style'; Which may of which Sacher was the

adde^ vhhraWe*Wnpk T7* v C I" " ovc ^^ short-lived, A ceaseless until his retirement in 1969.

h . ,s apdvlndepcndent plso director Tor several years of tj

fi^al^onerts ■ ' h,nkcr ’ ™ cbOosbs his'.own Swiss Composers' Association. ThJ

severni operas, The. first of. -these lammane and ones hi* in n »i., i-i- nri/M awards

tries lo remuin acceptable to the
people at the receiving end. To the
traditionally-conditioned listener,
Tal’s music may sound contem-
porary if not avant-garde; but his
sincerity and his total commitment
lo his music convinces one that here
is a composer or stature and value
who has not earned his international
reputation without reason.
Congratulations lo Josef Tal for
winning the Wolf Foundation Prize.

PAU L SACHliR, the guest conduc-
tor at next week’s "Explorations" of
the Jerusalem Symphony Orchestra,
has probably done more for Ihe
creation of worthwhile music In the
20th century than anybody else.
Since lie first look up his baton in
1 926, when he founded the Bade
Chamber Orchestra, Suehcr has in-
itialed or premiered more than 80
works of importance. Three of these
will form Ihe programme to bs
played at KibbuLz Hazorea
March 16. and at the Jerusalem
Theatre the following night- They
are Stravinsky’s Concerto in D,
Strings (1946), linrlok's Music lor
Strings, Percussions and C® ,c ".
(1936), and the Honegger’s Fourtn
Symphony (1946), nil of which ha*
become a port of the regut
orchestral repertoire. .■

In 1933, Sacher founded in®
Scliola Cantorum Basil iensisj*
research in and performance ot e
ly music on original instrumco ■
This institute was amalgamated
the Musikschule and conservatoire
lo form the Basle Music Acad 7
of which Sacher was the « ,r * ■
until his retirement in 1969-
(tlso director for several years o

c...: y-> Aeoiv-iflllOn. I* 1 -

Drir In alw ays open Jo nCWUeas and vistas, him'during the last three decad^

•AiLoh-^l r hi p w st ’ • te.-dfrs- Pol. losoi reflect: the international

A-u 0 ! - ° I Tamar () 96 I ); himself In Impractical specillntlons-' Paul Sacher has received for hi

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ma wwgAian ton MAftAaiiB : . ' huimv.

BRIDG E/George Levinrew

WHEN WE REACH sound con-
tracts, we must play them carefully,
taking into account possible dis-
astrous distributions. In today’s
deals, ducking for safely is essential.

Deal 1
Vul; Both

North(D)

A J 53

9? A Q 10 7 4 3

0J4

*A2

Weil Eut

AQ9862 A 107

<363 R7J982

0109873 0 K 62

*10 *J9B6

South
AAK4
R?K
0 AQS
+ KQ7543

North

A A

^ A 7 53

The bidding:

North Eut South

West

4964

West

Eut

Pass 24

Pus

4 J 9 72

410854

2V

Paw 4 NT

Pus

10

VKQ982

Paw 5 NT

Pus

0 Q 108 7

0«

64

Pus 6 NT

AU Pus

4QJ108

4 K 7 2

-AFTER PARTNER has opened the
bidding, South's hand cries out for a
slam. With his singleton heart South
decides not to make a jump-shift at
his first response, and to proceed
slowly. Two clubs, in any event, is a
forcing bid.

North's first rebid, in his opening
suit, shows a six-carder. Since
Blackwood shows top controls in all
suits, six no-lrupip is the preferred
contract. The lack of the diamond
king does not seem to be a threat,
with two six-card suits and the lead
coming up to the ace-queen.

The opening lead was the dia-
mond ten to South's queen.
Declarer’s count shows that if either
clubs or hearts divide favourably
tricks are a pushover. How then can
■declarer protect against an un-
favourable break in both clubs and
hearts?/ 1 :

. pY® tricks are easily, available in

.her; of these: suits if declarer

*KQ63
t?J64
0 A 6 2
4b A 53

The bidding:

South West North East

14 Pass 2 0 Pass

2 NT Pass 3 NT ’All Prss

a'agg szascg s ssg

won the second club with the acc.
His problem now wils making four
diamond tricks. His greatest danger
was four diamonds in lire West hand
as in the diagram. This lie would
somehow have to uvercomc.

I he count of losers was especially
important on this deal. South must
limit his losses In three clubs and
one diamond, and he must have suf-
ficient entries to lake his winning
tricks. First lie must gel the spade
ace out of the way so that he could
make tile king and queen in his own
hand. For this he needed an entry
into his hand — and the only entry
was the diamond ace. But if he im-
mediately won the diamond and
took the two spades this might set
up a spade trick for the defence,
and that could set the contract. His
only hope, after taking the spade
acc, was to duck a diamond.
Perhaps he could pick up the dia-
mond queen on the next round. So
lie won the spade ace and played a
small diamond from each hand.
West played his winning clubs and
exited with a heart to dummy’s uce.
A diamond was now led to the acc
and with East showing out. South
was able lo finesse the jack. So he
made his two good spades ami ran
the diamonds, making his contract.

Deal 3

Vul: Both

Ducking for safety

ducks one trick. Declarer should
first play the heart king, lo clear the
way. Now, in which suit should he
duck? The answer, obviously, is in
clubs, since declarer has only one
entry — the club ace — to the
hearts. But he can't play the club
ace before ducking that would
strand two high hearts in dummy.
The winning play at Trick Three is a
low club from both hands. Now win
the return, enter dummy with the
club ace, cash the two high hearts
and enter hand to claim the con-
tract. Playing snfe pays off.

Deal 2

Vul: Both.

West

4 III 873
<?Q952
OK7 2
497

North ID)

49652

VA

•;> y j 3

4AKJ64

South
4AKJ4
C? 10 6 3
0 A54
4 y Ul 5

Ezsl

4 y

C2KJ874
;> 10 9 86
4832

The bidding:

North

East

South

West

14

Pass

14

Pus

34

Pass

4 •>

Pass

4<?

Ubl

Pass

Pass

Redbl

Pass

64

All Pus

THE CONTRACT is normal and West
leads the club queen. Declarer
courtts seven tricks on top — three .
spades, one heart, two diamonds
and one club. The two needed tricks
can only come from the diamond
suit. East ,played a low club and
declarer ducked, West continued
with a club and East played the
king. This gave declarer a count on
clubs. They split 4-3, for if East held
only the king doubleton he would
have played the king on the first
trick, unblocking ihe suiL Since
now there was no fear of East- West
running four club tricks, declarer

NORTH-SOUTH reached a dis-
tributional sitim with only 29 high
card points, with a singleton and a
five-card side suit providing ad
dilional opportunities for needed
tricks. Special care is needed,
however, lo guard against adverse
distribution.

The heart deuce is led to dum
my's ace. Declarer counts one pos-
sible loser one in spades, two losers
in hearts which can be ruffed in
dummy, two losers In diamonds
which can be discarded on clubs.
But all this may not be easy. Trump
must be pulled before clubs can be
run and hearts must be rufred in
dummy before trump can be pulled.
To enter his hand South played a
spade for the second trick. He was
pleased with the fall of the queen,
but if this meant four trump with
West, South might lose control of
the hand. Since he had to lose a
trump anyhow he shifted plans to
win the first spade and ducked to
the spade queen. East shifted to a
diamond which declarer did not
dare to finesse but won with the ace
A heart was ruffed and a trump led
to the king. Another heart was ruf-
Ted. A dub was played to the queen
Trump were now safely pulled and
the club suit won the day. Had
South covered tfie spade queen with
the king hp subsequently would
have lost control and been set by
the loss of a trump, and a heart or a
diamond, (It would have been
necessary for West to withhold his
winning trump until declarer had
played three clubs and do longer
had an entry lo dummy.) ' .

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If you ere interested In investing In a
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our

A choice collection
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Chagall, Miro, Dali,
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FRlDA^.MARfeH 11, 1983

THB JBRU8A1BM POST MAGAZINE

Meir Ronnen

THIS HAS been a record week for
shows in Jerusalem. This writer
found himself writing up 13 exhibi-
tions and there are live others that
await u visit: » show of I8tli century
Haggudnt at the Israel Museum and
a didactic show entitled "How to
Look At A Picture" at the Youth
Wing. Also at the Museum is a little
show of paintings and drawings by
Avigdor Arikhn, all devoted lo his
wife. The Yad Vusheni Museum is
exhibiting three little shows devoted
to various aspects of Holocaust art;
and at the Gila Gull erv, 22 Agron.
the French -Jewish virtuoso Claude
Weis buck is having a show of nen-
romantic paintings and drawings.

SHIMSHON HOLZMAN, the
velernn Israeli watercolourist and
poet of the Kinncret foreshore
(whose 75th birthday album
published by Masada whs reviewed
in these columns on Jan. 21} is
represented hy a show of paintings
and drawings from the Twenties to
the Eighties. The gem of the show is
a rather uncharacteristic expres-
sionist oil of an inlet of the Seine,
painted in 1934, a very French and
painterly work that ought lo be in
the Israel Museum. Some of the
watercolour landscapes of the Thir-
ties and Forties are brilliantly
brought off but os noted before,
Holzman makes everything look loo
easy. The line drawings are par-
ticularly slick. Some themes, like his
three Kinncrel trees, are worked to
death (and poorly reproduced as
lithographs). But Holzman is a real
artist. (Aria Gallery, 4 Aklva,
J’lem.) Till April 9.

VEKA GUTKINA, a young painter
who came here from Moscow just
over a year ago, is a born artist. She
shows canvases from both here and
there; and the change that has taken
place in her work in such a short
time is amazing. Her gloomy,
almost muddy portraits, still-life and
landscape painted in Russia are
replaced by a clear and joyful palet-
te 1 of rich harmonies, basing a
number of her landscapes in a gen-
tle, happy light; see (2). Her scumbl-
ing is painterly without being messy
and her portrait or her colleague
Bassln (22) records him as part of’
the picture, without any sacrifice or
any othtr qualities. If Gut kina can
develop a personal idiom she may
emerge as an artist of real note. (El-
la Gallery, Yemin Moshe.) Till
March 24;..- .

EDUARD LEVIN, a graduate of
the Minsk Academy, has, judging
by his paintings and drawings, made
a foray to Paris and Madrid since
edming here some five years ago.
He is a humanist influenced by both.
Spanish and French painting;' his.
figure painting belongs to fcl Greco',
and, G qya while ■' the little Paris oil.
vignettes are post-impressionist,
semi-expressionist School' of Paris
.(and make sense both from close tip
or nt a considerable distance),.
There is' a general alr of gjoom; and'
there I is a. iofnbre. portrait of iho.
Bloomy genius Yefim lidizhinsky,

: (a brilliant Russinn-jewlsh painter
whose life came. to a tragic end in
Jerusalem a year ogo this ttipnth)/ !-
. was most drawn to a sunny; arid very
• lively... little oil. or a vineyard ' and
viiw’(9) f one of: his. Judean desert
series,'. whiohhopefuUy presages a
lighter- pqlMle; Trie mezzanine con- 1

tains his skilful watercolours of still
lile (31 ;md 32 arc easily the best
and the most harmonically control-
led) ami n few freely painted, semi-
abstract renditions of the heroic
mule torso, ns well as a few pen
drawings from his trip to Spain.
(Jerusalem Artists House). Till
March 23.

SOUTH AFRICAN-born, London-
trained Sandra Pepys Hddecker has
u remarkable gift for picture-
making and no technique to carry it
off: much of her very uneven show
is clumsy in handling, almost naive.
That the power of her vision can
mitigate this is evident in her am-
bitious but poorly thought out pan-
oramic oil of the JnfTa foreshore
(13) » curiously good bud painting
(note how the handling of the sea
awkwardly negates the perspective).
Rut her gifts come happily to the
fore in the boldly conceived and
brightly executed trees and houses
(17) with its brash greens and
orange roofs working against a
richly artificial blue sky. (Jerusalem
Artists House). Till March 23.

YEHUDIT SHAPIRA is a Tel Avi-
viun trained in London and New
York. Her man-sized painted wall
sculptures, or, if you like, sculptural
non-regular minimalist paintings,
are like theatre-set tombstones on
the road of art history echoing with
the footfalls or Ben Nicholson and
Lynn Chadwick. The arty.

Joe IK ass: painting (Tzavta Pub
Gallery. J’lem).

carefully-treated surfaces are
almost chl-chi. Particularly unfor-
tunate, almosL imitation art, is the
. sole . piece on the floor, but a
number of the others, particularly
the warmer red ones, are quite con-
vincing. Less would have seeipcd
more if ghapira had been more
selective hi her ohoice of what to
show. (Jerusalem ' Artists House).
Till March 23.

EC K HART WENDLER, 45, is a
skilled .and sensitive German artist
who once came here as a ldbbutz
volunteer and- now teaches at
Hamm. He Ifas sent here some fine
gouaches, watercolours and
: : etchings, non-objective work with
occasional . echoes of still life mixed
with landscape.. He is out of >a
. curious mixture of Leger, Expres-
- sion and Cubism but the results arc
very much his own. Particularly fine/
; are. his targer, harmonic gouaches
with Ihetr.l^Fce diipensibiipl shapes
! /operating In , twpjdimcnsfonal cn-
V vironmerits, Hlsldouble-eval theme
.; rccu'w in sqme.Btronglnk drawings,,
v Also bf hole Js.-bii itching of a" cal-
ligraphic mass' that faintly .resembled

; Japanese Kapji.' tyofth -seaing;
(Nora, Gallery,' ST Ben .Malmon,
Hem.) Till April 4. ■ : >/.

WARSAW-BORN Joel Kass came
here in 1948 and later studied at the
Bezalel before continuing his
studies in Italy and the UK.. His
weii-painted but heavy expressionist
symbolism still retains the influence
of his early Israeli teacher, Lior
Roth. Kass’s grotesques are grpups
of performers who regard the
viewer with a depressingly joyless
acceptance of the human condition.
(Tzavta Gallery, 38 King George,
behind parking lot, J’lem.) Till
April 5.

NEW paintings by Maya Cohen
Levy show a switch from pop stars
to pseudo-anthropology. Her large,
crudely-painted canvases and col-
lage carry three-dimensional holy
cows as well as two-dimensional
images taken from aboriginal
painting: goannas, platypuses, birds
"Cobra"-like human images also
emerge. But her wild painting,
mired in so many traditional styles,
is less new painting than an eclectic
mess. But in u few of her smaller
works, thought and order is begin-
ning to emerge. (Debel Gallery, Ein
Karem.) Till March 24.

YAIR GARBUZ presents another
series of his instant social summa-
tions, made of torn and defaced
news photographs coupled with
some occasional and inconsequen-
tial drawn symbols. Much of it in-
volves the drive into Lebanon and
confrontations between Israeli
soldiers and Arab women (not all of
it originally hostile); and except for
u few shots showing Israeli doctors
being helpful, the faces of all the
soldiers are defaced. Mixed in are
porno-type shots of couples undres-
sing each other, their heads also
missing. The theme throughout thus .
seems to be shame. Garbuz is en-
titled to his social and political opi-
nions, but as works of art these pan-
els are a charmless and sordid con-
fusion that leave one with nothing
but a nasty taste in the mouth. (Sara
Glial Gallery, 4 Pinsker, J’lem). Till
March 23.

A FAIRLY new gallery that has
chalked up a. respectable record of
helping new Israeli painters and
forgotten veterans is marking the
first five years of its operation with
an over-large and not sufficiently
selective group show of 18 artists,
which, nevertheless, contains a
number of works that merit a home
in .the Israel Museum. Outstanding
are two works by veteran Orl
Relzmin, one a brilliant portrait of a
lady in an embroidered blouse, a
painting in which everything —
colour, handling, composition —
has gone marvellously, deliciously
right (two other works, by Raizman
are qu^e indifferent). There are also
two interesting unhatural-tolbur
landscapes, by Yadld Rubin and a :
huge, sperididly expressionist land-
scape, beautifully brought off, by
. Asaph Ben Menaliein, A- real delight
is a near-naive still Bfe on thinly
painted plywood, by .Moshe Hoff-
nipni and also a . splendidly with-it > 1
vertical oil of a man with a cravat by
Ahton Bidernun that entirely-
reflects, the spirit of European New. :
Painting/. Two fianvaflta by* colourist
Shmuel Tepler are iharmonlcdily .'
impressive, - if ft UtUe^trite;i>eiaeh •
SfoMBky shows a waterodloiif tHp- :
lyph of three portrait^ tl\at is atvlm -
leroaillng departure, awhile Gabriel
Coheh ipffertusanpther.ofhlsnaivd;
visions, .this. UrfteVNdya; riverboats-.
sdt against a miked . cultural ;h

Shimshon Holzman: watercolour,
1959 (Arta Gallery, J'lem).

L ; ... % ^

Eckhart Wcpdler: gouache, 1981
(Nora Gallery, J'lem).

P/ .

lih-.- • . "J v l Ife

m , /• " ! "

w : i \ '

* ./■ v' *

\ . /Vs . , - t i u

Eduard Levin: "The Pompidou Centre," oils (J'lem Artists House).

'-wr-

■mm

jMfe / /v • .v

Maya Cohen Levy: painting, 1983
(Debel Gallery, Ein Karem).

background. (Alon Gallery, cnr. 51
Palmach, J’lem), Till March 25.

TWO ACCOMPLISHED young
photographers make a convincing
debut. Ronlt Lorch-Lombrozo, a
Bezalel Design Department
graduate, has returned from a trip
to Hongkong with a series of quite
superbly taken and printed colour
studies of food In Chinese markets.
She concentrates on the patterns in-
herent in both organic qualities and
the artistic oriental method of
rhythmical linear presentation,' giv-
ing us symphonies in everything
from vegetables to plucked
chickerts and plates of fish — and
eyen stacks of wood. Particularly in-
teresting is her study of the random
composition .of some black-eyed
beahs.- Composed -entirely in the
camera and - presonied ; full frame, .
these prints.are aqgooddsariything
' I’ve ever seen in Gwrniet. ■"■■■■■

/ ?. a rb* vdhbe, Kdfliy Saplilr,

Who studied ntusic -in ^or native
Antwerp , and phologfabhy at fan
American schboi, shows aromantic
sdrles of, colour prints devoted
^hiefiy to stuclle^ of chairs on the
’seashore/' Those pUcecj by hprseif

Yehudit Shapiro: painted con-
struction (J'lem Artists House)-

are nithcr nrty; but her studlM of
patterns mndc by sandshades.
chairs, sund and sea rcveul a special .
talent for composed picture'
making. A tendency to work ffllO:
the blue-violet end of the spectrum
in the bench scries heightens tM
lyric effect. I enjoyed these efficieo*
but unpretentious works by tnej®
young photographers as mucB i »
anything in the rather depressing
Foreign Ministry show of isra
photography now on show in ™
foyer of this venue. (JorUsalo
Theatre Gallery For New Aitww.
Till 1 March 14.

THANKS to George Washington'*

birthday and some previously un^ 1 *

nounced closures, I was friistrai
irt my efforts to view VJ
photographs of .teacher
Pletka, made by the kwik-o
method, , originally -a cpmmor ■
process for artificially colour^
tentative black-and-white ® ,
layouts. ; The method eVI ‘* 0 ^’
enables her to divorce pho^ograp*
froih their original reality by g*
thdm a .colouring of bej .
.(American Cultural Con ter '
Keren Hayesod, J’lem), v

i: master
and shad

Gil Gnldfine

FUELLED by controlled lighting
and dramatic camera angles, the
photographs of Heimar Lerskl arc
uniquely personal.

Lcrski, the peripatetic son of
Folish-Jewish emigrants, who once
lived here, was born in Strasbourg
in 1871 and died in Zurich at the age
of 85. Although his career spanned
six decades and three continents,
his art, mainly memorable portraits,
was virtually forgotten until recent
research into avant-garde German
film of the 1920s uncovered him
once again. A travelling retrospec-
tive is now on view in Tel Aviv.

Lcrski’s skills with a camera
began to develop while living in
America around 1910. However, it
was not until he moved lo Berlin, in
1915, where he found employment
as a cameraman and lighting direc-
tor in the fledgling German film in-

dustry, that he began lo fully realize
the power of the lens.

As indicated in the chronological
arrangement of the exhibit, it was
during these formative years lhul
Lcrski concentrated on portraiture,
going from documenting popular
cultural personalities of the time to
photographing "anonymous’’ peo-
ple. With “Everyday Heads," a
series of proletariat portraits
created in the 1930s, Lerski ex-
perimented with his unusual style,
based on close cropping of the face
and background, while using
"theatrical” lighting .is a. sculptural
tool.

Unlike orthodox portraiture.
Lerski’s sitters always remain
anonymous. There is no attempt to
describe flesh as personality; nor is
there un image with which the
viewer can "communicate.”
Lerski’s portraits arc objects of
study, fundamental interpretations
of form, mass and texture brought

• - .kA Kt -:«j

Hclnmr Lcrski: three portraits of the same mode! from "Metamorphosis of Light" (Tel Aviv Museum).

together by light and shadow. The
question of whether Lerski’s faces
arc true people or masks of make-
believe people quite often arises.

Bet ore Lcrski embarked on his
particular style his work was im-
bued with a strain of theatrical
romanticism, with agreeuble thes-
piaiis staring starry-eyed into space,
contemplating, pretending and per-
forming for the lens. Then as in Inter
years Lerski's models never looked
directly into the camera face. Con-
tact with the ultimulc spectator was

avoided, a sense of mystery prefer-
red to a sense of reality.

While living in Palestine f 1933-
1949) Lerski created a monumental
work "Metamorphosis in Light"
probably his major contribution lo
the history of photography. It en-
capsules 175 different facial poses
of one man, whose features arc
altered and made distinctive hy un-
usual mannerisms coupled to a
creative use of light and trimming.
Although there are only a few dozen
ot these prints in this exhibit their

power indicate Lerski's extraor-
dinary photographic vision.

Lcrski was a planner. A
photoerapher who relied on
premeditation and control, an artist
who left little to chance or candid
approximation. This is a condensed
assessment of u man, who, having
lived on Dizengoff for 15 years,
should have been appreciated and
noticed a long time ago. Perhaps the
limes — ;uul two wars — were
against him. {Tel Aviv Museum,
King Saul BLvd., Tel Aviv).

Lubin's
Tel Aviv

THANKS TO several local gal-
leries, the late Israeli painter Arleh
(Leo) Lublti is enjoying a justified
revival. Unlike u previous exhibit
held three months ago, the current
show of works on puper from the
’20s — has been carefully con-
sidered and hung with care.

Lubin is confirmed to be an ex-
cellent artist, who, unfortunately for
one reason or another, slid into a
decorative decline that ended with
his "paraphrasing" and "stenciling”
of standard themes, with which he
had become synonymous.

But these early works are of a dif-
ferent nature. They indicate a
search for identity. Defined draw-
ings and watercolours of little Tel
Aviv and its environs are
pronounced in several European
styles, from stylized contour line to
naturalistic rendering, from cubist
studies lo expressionist drawings,
from Matisse lo high Erelz Yisrael.
Lubin was an observer of his city
just os Gutman was the recorder of
Jaffa. Lubin strolled t.he streets of
Tel Aviv and documented its
growth and its inhabitants: Jews and
Arabs, peddlers, Farmers and
labourers, scenes that will eventual-
ly, along with those of Rubin,
Gutman, Paldi and Castel, sym-
bolize the drama and naivetd pf the
early Yishuv. (Givon Oallery, 35
Gordon & Tiroche Gallery, 25
Gordon, Tel Aviv). Till March 26,

UKE IT or not the art world is be-
ing wrapped in an Expressionist
revival. The problem is that real ex-
pressionists are born, not made. So-
called expressionist ■ paintings can
easily M into colourful decoration
or blank, austere* symbolism. Orna
her;firtt one person show,
an obvious disqipie of German
Expressionijsiti, .especially Nolde
whose *‘Dpnqe Around the Golden
Calf," (I 91 &) is chromatically and
gestura.Hy mirrored . in one of her
canvases,. With :all the gusto ,and
bravado 1 pf raw pigment, the das*

^PAV; iMtARCH 11, 1983

•’ : >' v - ; v y

" '• : : I. tSsffi*?; $$. {■ -. • -

Arleh Lubin: drawing (Tiroche
Gallery, Tel Aviv).

sic combination of harnessing pinks,,
yellows and mauves to greens, greys
and reds is Fauvisl rather than ex-
pressionist. Miilo's figures,
however, are drawn in h decidedly
exaggerated way. Heads are carved
primitive casts. Large eyes and
scornful features are placed on
truncated, stubby torsos and legs,
not unlike those of Marc and
Gauguin. Movements' are stneatto
and not fluidly composed and in
several pictures MQlo uses the figure
ns an isolated shape on bare, while
canvas in. order to heighten their
colour sensation.

To Miilo’s credit is- her con-
centration on paint and sensation,
on distortion for the sake of art and
not exploitation, on the visual im-
pact of picture making. Not too
many young painters can manage to
mainiain such control. (Ahuva
Pincas Gallery, 42 Frug, Tel Aviv).
Till March 23.

ALON PREMINGER is a talented
22-year-old sculptor, who, in his
first exhibit ever, shqws several
highly polished handsomely
finished, marble forms. In the tradi-
tion pf Brancusi, Arp, Hepworlh
and Noguchi, Preminger's grey,
white, or black .volumes are carved,
with purity and finesse. Preminger’s
love of reductive form and respect
for his material creates a marvellous
combination that shines right
through his work. The stone, much
of it from Carrara,, is sensitively

Alon Preminger: marble sculpture (Gordon Gallery, Tel Aviv).

Ronit Yedaya: drawing (Mabat Gallery. Tel Aviv).

hewn into weightless abstract ob-
jects of organic or natural designs: a
bone, a shell, a bough, a moving
animal. There is little drama in
Preminger's sculptures and no overt
mannerisms. Tnough derivative,
they have n , pace and soul of their
own. A rare first outing for such a
young, untrained, artist. (Gfltflon
Gallery, 95. Ben Yehuda, Tel Aviv).

RONIT YeDAYA’S four horizontal
charcoal drawings, are superior to
her paintings in tha( .they Indicate
signs of psychological intensity
coupled to an understanding erf 1 the
dynamics of picture making. Scrub-.

bed ebony blacks are pitted against
while areas as shadows intertwine
with solid objects in pure pictorial
relationships. In addition, the nar-
rative quality that penetrates the
drawings, without the presence of
humans, is like early DiChirico; the
shadow of life without seeing it.

On. the other" hand, Yedaya’^ can-
v ases ' a’r e '(obsely composed,
abstract landscapes in which colour
is stubbornly kept ' fairly
mdhpchromatic, dull earth greeny
and browns or fiery reds and yel-.
lows. (Mabat Gallery; . 31 Gordon,
Tel Aviv), □

GIL GOLDFINE'

HAIFA SHOWS

SIM CM A WEISS and
MOKDECIIAI FEUERSTEIN —
Weiss’s deuoratives in pundu oil
pastel and oils, constructed on
realist motifs, completely fill the
frame, a wetikness being, in sonic
instances, the introduction of loo
many motifs. After arrunging the
subject in a jigsaw Ininlly akin lo
stained glass, he does not venture
farther except in “Woman in a
Painting Group” (6) where b
diagonal easel contour supplies a bit
of dush. A word should be said
for his realist portraits, confidently
and firmly delineated.

Feuerstem's watercolour "Trees
and Landscapes” employ a medium
which suits his delicate and soft
impressionism, e.g. "Emek Lund-
scape”;. while his smallish frames
uid greatly in giving a degree of in-
dividuality to vignettes of trees (8).
These watercolours connect with
the artist's photo-chem paintings.-
For example, wc can now see, by
comparison, that the smokiness in
the latter, unless the subject is Haifa
Port, is due lo cloud effects (“On
the Way to the Negev”); and that an
important note in both media and
probably the clue to his style, in
despite the small format, the ability
to command space by expressing
distance in breadth and thereby the
hint of panorama if the picture were
larger. (Hagefen Gallery, Haifa).
Till Mar. 22.

RINA DROR’S prints arc am-
bitious but in a couple or landscapes
she is not entirely at ease in arrang-
ing her motifs. On the other hand,
Dror is proficient in the portrayal of
young female nudes, of which there
is an exceptional number; her range
of poses might be enlarged by
depicting, from time to time, older
and less idealised bodies. Another
stylo where she certainly knows how
to , hit the qail on Ihe head, is in .'a
partly minimal 'abstraction, e.g. the
’red wavy .‘’‘Landscapes." This
'quality is also apparent in her strict-
ly lfri$ar hallways and lanes which
pqsSqss ; ' a : distjh'bt'' abSlTiet
significance. (Ritz Gallery, Haifa).
Till Mar, 25. ‘ □

E. HARRIS

TPS lERUBALBM FOBT MAGAZINE

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Jerusalem

( ONUICIKD [OI KS:

'Inurltti and Visitor* cumc .ind sec the (iineral
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its iminiMd uctivilies und impressively
modern building. Free guided tours weeVilayx
hclwuen 'M2. Hus No. l-l, 24 or 5. Kirynt

Mwshe. r«l. 5H2«>|.

HADASSAH — tiuided lour of all instullii-
liuni * Hourly lours al Kiryat Hudisiah and
lladussah Ml. .Seopus. * InfbriiiJiioii, reserva-
tion*: 02-416333. 02-426271.

Hebrew University;

1. Tuurs m English ut 9 and 1 1 a.m. from Ad-
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Jerusalem

MUSEUM

Israel Museum. Exhibitions: Permanent Col-
lection of iudaicii, Art and Archaeology:
Be/alel 1406-1929; Art or Bcralel Teachers;
Portables: Letterheads by pentagram:
Primitive Art from Museum collection; How
to Look al a Painting ; Special Exhibits; Seder

Plate. Vic lulu 1925 [from 15.3): Japanese
Miniature Sculpture. J8ih-J4ih cent. Ncisuke
:mri Inro. Pilgrim Souvenir Objects and Chris-
lian Ljmps; Clu> Jug and Juglet, Middle
Cannanite period IIA; Illuminated Flaggadut;
Kndesh barneu, fortress l rom Judeun
Kingdom (Rockefeller Museum); Wonderful
World of Paper (Pulcy Centre next to
Rockefeller Museum).

.SWn'nsn v.

israel film archive ionj^ifem

BELGIAN FILMS

under the auspices of the Belgian Consul,
Jerusalem

14.3 The Missing Link
dir. Picha. 9.30

Gala Opening In the presonce of the director

16.3 Los Hours de notre vie
dir. Maurice Rabinowicz. 9.30

17.3 Le Ut

dir. Marion Hansel, 9.30
Director present

20.3 Toute una nuit
dir. Chantal Akerman. 9.30

21.3 Mira

dir. Fons Rademakers, 9.30

24.3 Die Loteling
dir. Roland Verhav.ert, 7

30.3 Femme entre chien et loup
dir. Andre Delvaux, 7.30

tj SEcZ .. T At- -rpg t; , , uflm

Liak-rle VMuh Niiunllc, kliaiiui Huyotzcr
Y S. Hamiiv he. Original prints bv inter'
national .irii>is, Tel. tiJ-M a JXh4. 280031.
Ji-ritvnlcm City Museum — lower uf Dadd —
I'liv l.'iladcl. Open dull;. S.J0 a.m.. 4. ft p m _
Multi ■screen show (ling.) Sun.-Thur. 9.00
1 1 .‘Hi u.m . I .'ft, 3.(10 p.m Nightly (cscepl Fri-
iluy and llohduy) in French: 7.30 p.m.
v icr man 8.15 p.m. Lngh-.li. 9 .00 p.m. Perma-
nent Fxhthrl-: Ldmsigraphic Dolls "Jerusalem
Characters."

Vcniln Moshe Windmill Permanent Exhibit on
life and work of Sir Moses Monteflore, Sun.-
Thur. 9j.ni.-4 p.m.. I n., y a.m.- 1 p.m. Admis-
sum free.

The lourjcmoti Post, Peruuitenl Exhibit* on
Jerusalem Divided and Reunited in restored
lurnier military output. Sun.-Thur. 9 a.m -3
p in. (1 Mail lluitdassu Si.)

Old Vlihnr Court Museum. The life of the
Jewish tom mu nil y in the Old City, mid-19ih
eeiitury- World War II. o Reh. Or Hahoim,
Jewish Quarter Old City. Sun.-Thur. 9 a.m. -4
p.m.

Sir Isaac and Lady Edith Woirsoa Museum it
Hekbal Shlomo: Permanent Exhibition of
Judmca. Ulnramu Room: History of Jewish
People. Lxliihii ol drawings by Mark Podwal.
Sun.-Thur. 9 a. m.- 1 p.m.: Hri., 9a.m.-l2 noon.
Tel. 635212.

Tel Aviv
MUSEUMS

Td Aviv Museu. New Exhibitions: New
Painting from Germany (opens 15.3 at 7 p.m.).
New Pinnling (from Joshua Gene I Collec-
tion): Cusielli. McLean. Puludino. A.R.
Pcnek, Expedition to the 1 loly Land. Continu-
ing Exhibitions: Helnmr Lerski, Phutographi
19111-1947. Mich.il Na’amon 1975-1983
(Helena Rubinstein Pavilion l.

Visiting Hours; Sul. 10-2; 7-10. Sun.-Thur. 10-
10. Kri. cloved.

/I clena Rubinstein Pavilion :

New Exhibition — Miehal Na’aman 1975-1983.
Visiting Ilnurs. Sun.-Thur. 9-|; 5-9. Fri.
closed, Sal. IO-2.

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Ko| Israel — Music Division
In cooperation with YMCA Jerusalem KBT

Presents; X§3

THE ISRAEL CHAMBER ORCHESTRA J

Conductor: URI SEGAL
Soloist: PETER FRANKL, piano

Works by M. KjJion, Mendelssohn, Francaix, Haydn
Saturday, March 12, 1983, 8.30 p.m. YMCA Auditorium

GILA YARON, soprano
MIRA ZAKAI, alto *

IDET T2VI, piano
JONATHAN ZAK, piano .

■ Evening of Johannes Brahms

Sunday, March 13, 1983, 8.30 p.m., YMCA Auditorium

■ Tickets available at Kla'im and at the YMCA box office. .

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c'i I * 1 ... k p, fi r liFRIDAY. MARCH. U. ^

Mi 11

|(Above) About to be sent to Cypnts , girl shows possessions to British soldier. (Below) Jewish children In North Africa

fc- ' . . . V 'V:

lanis, Hans Beyl and Emma
Ehrlich. Speaking of the vigour and
the strength of this legendary
woman, Oidal says: “Miss Szoid
never needed crutches or walking
sticks. She was supported on both
sides by Bcyt and Ehrlich who
helped her in all her work.”

Gidal, who is a senior lecturer in
the Department of Communication
nl the Hebrew University, was not
the ordinary photographer of his
time. He disdained the posed
publicity photos of vigorous young
pioneers with hoe on sholder.
He photographed people as Ihey
were, it was due to his innovative
lulenl that the last mission S 2 old .
completed is probably one of the
best documented in the annals of
Israeli and Zionist history.

BEFORE HER visionary rounding
of Hadassah, and her later ac-
complishments in Youth Aliya.
Gidal relates, Henrietta Szoid had a
career behind her that would no
doubt have satisfied (he ambitions
of today's most ardent feminist. The
eldest of eight daughters of a rabbi
from Hungary, she hnd taught
German, French, Algebra and
Bolnny for 15 years in u girls* school
in Baltimore, where she was born
in I860. At the same time she taught
Jewish History and Religion at the
week-end, and had continued her
own studies in Hebrew, Bible and
Talmud under the tutelage of her
rabbi father. At the age of 33, with
the assistance of friends, she
founded the first Zionist Associa-
tion in America.

Ten years earlier she had founded
the first night school for new im-
migrants to the United States. From
a one -room basement school where
Russian Jews, expelled from their
homeland under the notorious May
laws, there developed a night school
system that was to spread all over
the U.S.

In 1936, Fiorello LaGuardia, the
mayor of New York, made her an
honorary citizen, and said: “If you
had not started your work of
educating immigrants in 1882 then
perhaps I would not be here today,
for I am the son of poor Italian im-
migrants.’*

In 1893 Szoid gave up her job as a
teacher. One or the most learned
women in America, she became the
secretary of the Jewish Publications
Society in Philadelphia. She
breathed new life into this non-
profit organization, and remained
its mainstay until 1916. She dis-
covered Jewish writers, edited their
manuscripts, supervised printing
and organized sales. She col-
laborated also with Louis Ginzberg
in the writing of his four-volume
work Legends of the Jews, and then
translated the entire work, now a
classic, into English. “U was, in
every sense of the word, her labour
of love,” says Gidal. “She was late
in finding the great love of her lire
but it did not lead to marriage. The
storm shook her all the more strong-
ly since it came so late. It ended in a
severe nervous illness from which
she only slowly recovered."

HE SAYS that it was a decisive time
In her life when Henrietta Szoid,
then aged 49, and her 70-year-old
mother, visited Eretz Yisrael for the
first time. The . year was 1909,
Palestine was under the rule of the
Ottoman Turks. There were virtual-
ly no medical services in the
country. It was the pitiable sight of
human suffering that led Szoid to
try to cut through the red tape and
b,uret\ucracy which already
flourished in the Land of Israel. She
went back to America and there she
organized Hadapsnh. The following
year they sent l|ie first two trained

nurses to the Land of Israel. Today
Hadassah is sponsored by more
than 300,000 women.

Gidal goes on to relate how, after
Szoid returned to Palestine in 1920,
she first took over the organization
of the medical services, temporarily
headed the educational services of
the Yishuv and organized also the
work of the social services.

Gidal, who is a pioneer of modern
photo-journalism, and member also
of the cadre of 20th century avant-
garde photographers, was not
around to photograph the missions
of those vital years, but he has
carefully collected photographs and
snippets of information concerning
them.

As to how Henrietta Szoid,
almost two decades past the age
when most people retire, was able
to maintain the fearsome pace
demanded by her duties, Oidal says:
“Miss Szoid was always up by 4.30
a.m. und ended her day near mid-
night. She was a strong woman.
Once, when we were far from home
and had a busy schedule ahead of us
the next day, with visits to a number
of places, Beyt said we needed to be
in Jerusalem early the fallowing
evening. Miss Szoid didn’t blink an
eyelash. We had driven and worked
ail day in the cold and rain, and it
wus now near midnight, but she said
‘Very well. We’ll start early. Let's be
off by six in the morning.’ And so it
was,” Gidal laughs.

HENRIETTA SZOLD loved peo-
ple. She had been a botany teacher,
and she was fascinated by plants.
“We often slopped along the way,"
Gidul recalls, “so that she could >
look al a flower or a tree. Her home
was always full of plants, on the
window sills, the tables, even in the
cupboards.”

Her memory was one of Szold’s
most remarkable faculties “and she
always did her homework," says
Gidul. "When we visited a settle-
ment or school she knew the name,
hometown and personal
background of every single child
before she arrived there."

But her greatest bond with Gidal
was the fact that he could sing, and
enjoyed doing so. Henrietta Szoid
especially loved operettas. “She
would say,” Gidal relates, "while we
drove along, ‘Herr Gidal, can you
sing us a song?’ "He was always
happy to oblige. "She loved the
songs. Ail of them, including the
bawdy ones. Especially from The
• Threepenny Opera."

“It was not only her determina-
tion and will that kept her going,"
says Gidal, "but her warm, earthy
humour and her interest in people.
She personally attributed her
achievements to the fact that M
keep the Sabbath and have a cast
iron stomach.' "

During the last years of her life
Szoid gave up travelling and con-
tinued to work from her flat .in
Rehavia, She went out socially only
once during those last years. It was
to attend Gidal's wedding when he
married a young woman from
. Youth Aliya. Szoid saw herself as
the godmother of the bride.

Henrietta Szoid died on February
13, 1945. She was 84 years old. The
funeral cortege that accompanied
her qn her last journey, from the
hospital she had founded many
years before on Mt. Scopus, to her
grave on the Mount of Olives,
seemed endless.

^ .“It was such a tribute," says
/Gidal. "The woman who had com-
. plained once that she should have
had many children, and. who once
said *1 would trade everything for
one child of my own,* left 13,000 of
her spiritual children in mourning.’

□

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'sS*** 1 ' march u t im

THU JERUSALEM TOST MAGASHN2S

PAGE NINE

i

THE ROBI-S arc long, voluminous s—
and authentic. the carpets on the
dirt floor Oricntsil; the lent is
straight out nf the desert. But the
eyes that peer out over tile reddish
moustache, under the tribal
headgear, arc a startling blue, and
the accent is unmistakably British.

Sir John Mills, whose familiar
face has graced over 100 films and
40 stage productions, 1ms won 18
acting awards, including an Oscar
Tor Ryan Daughter. His other hit
films include Swiss Family Robinson,

Great Expectations. Hobson's Choice,
'Goodbye Mr. Chips. King Rat. and
Tiger Hay.

He is now filming in Israel, play-
ing the English tutor of a dashing
Arab sheikh who falls in love with
beautiful Brooke Shields after his
tribesmen capture her in the North
African desert. The script has her
driving in an international rally dur-
ing a war between nomadic tribes.

The $15 million production, en-
titled Sahara, was inspired by the re-
cent incident when Prime Minister
Margaret Thatcher’s son was lost
during a desert auto race. Producers
Men aIichi Golan and Yornm
Globus set the story in the 1920s in
(lie Sahara desert, but the Cannon
Films production is being shot at 21
stunning locations in Israel.

John Mills, whom Golan calls
"an institution, like the Queen of
England," accepted the role
because “it's rather like going back
to the Valentino-in-the-desert
romantic adventure-stories we used
to make. It hus charm and ex-
. dtctncnl."

I CAUGHT up with Sir John on a
sand-dune in the Arava, next to
Kibbutz GrofiL. 100 metres from the
Jordanian border, with the red
mountains of Edom a spectacular
background to the charge of Beduin
horses swooping down on Brooke
Shields’ car. Nearby was a tent
camp set up for filming, and hous-
ing, the Beduin tribesmen hired as
extras.

It was the morning after his 75th
surprise birthday parly, given by the
Sonesta Hotel and the Sahara
producers. Sir John, along with the
other, stars of the film, are staying at
the Sonesta in the disputed Taba -
area, with the three borders of J
Jordan, Egypt and Saudi Arabia all i
visible from the windows. Mills’ «
stand-in, a young Australian named* i
Michael Cousins, who is spending a i
. year in Israel, sleeps on the beach,
belter suited to his lS500-a-day pit-
tance than the Soncsta's $90 rooms.

Sir John's sprightly step belies his
age, and he queries, quizzically,

, “Would you say I looked 42 or 457"
The doctor who examined him for
, the film declared him 100 per cent
fit, he- boasts, “and on our wedding
. anniversary,.! always take my wife
to lunch in the sports jacket I wore
' when ! courted her. It still fits.".

* He admits lo being slightly hard
: of. hearing, “but I think quite

honestly that age is a state of mind.

It also depends on your physical
condition. If you don’t feel fit, you
feel old. 1 take a lot of exercise, so
I’m okay.”

He grabs it the nearby muke-up ,
table. “1 hope that’s wood,” he mut-
• ters, and concedes that he’s very
j superstitious, la he religious? “More
so iirtce we’ve come t 9 Israel,” he
says. “The Olcf Testament used ' to
bo boring, but now we’ve found It lo •
be 'the best; guide-book thief 6' is.

' • Jerusalem i? captivating, Masada ;
/riveting. I can’t think why wye ;
neyer been hero beforq.’V

** 1 , * { * 1 , s*

JOkN MILLS, who was knighted id
1970, is n thoroughly dice man, like :
•the parti, he plays, content with his
’ . life, his career^ and particularly his

PAGE TEN

Mills on
a dune

John Mills has made over 100 films and
won numerous acting awards, including an
Oscar. His current role, in 'Sahara', has him
playing the English tutor of an Arab sheikh.
PEARL SHEFFY GEFEN meets the
British actor on location in the Arava.

42-year-oid marriage. Film stars
Juliet und Hayley Mills are his
daughters; his son Jonathan is a
script-writer. Ludy Mills, who is
always with him “like a Siamese
twin,” is playwright and former
actress Mary Hayley Bell. She was
born in Shanghai, where her father,
an English colonel, was Chiang Kai-
shek's commissioner Tor Chinese
maritime customs and ran two gun-
boats battling piracy, smuggling and
gun-running. One of her cousins
wus Rudyard Kipling.

Tlie Mills’ social life is strictly
high society. When he was called to

election campaign. They said ‘the
audience will believe you.! But even
though I’m a Conservative, l
refused, because l felt, well, what if
I’m wrong?’’ ’

Sir John is a Pisces, he reveals,
“which means I’m very sentimental
and emotional, and a moral coward.
I don’t like trouble or quarrels. J
hide under a rock. If it comes to a
point of principle, I can be strong,
but l can’t stand any kind of a row,"
That, along with very good man-
ners, may be the secret of his happy
marriage. Lady Mills says he’s a
“considerate, kind and marvellous

says Sir John, “because they knew
all about the theatre. They started
when my wife was writing plnys. and
they took to it like ducks to water.”
How do you keep a child star
human?

•■I think it’s the kids who come
from the soda fountains straight into
the big studios who have the
problems. They have no
background, and they believe what
they read in the papers, lliat they’re
geniuses and the most beautiful
things in the world. Our kids Inugh if
they read that sort of thing, because
they know it’s not true. Thai’s what
keeps them sane."

The Mills family belongs lo the
tradition of the great theatrical
clans like the Barrymores and the
Redgraves. What gives one family
so much talent?

“It’s mainly the wheel of fate.”
John thinks, “but yes, there might
be something in the genes. When
Hayley first got in front of a camera
at the age or 12, she seemed to know
just what to do. Most children stare
straight into the lens. They’re
riveted by the camera. But you
could put a camera six inches from
Hayley’s face and she’d never look
at it. That’s the sort of thing that’s in
the blood."

Sir John and Lady Mills tried to
discourage their daughters from
becoming actresses, “because wc
always tell everybody not to. It’s a
rough, tough and dangerous profes-
sion. Actors are the most insecure
people in the world. There are many
out of work, and 1 think that before
an actor joins the business, he
should be put off by everyone else.
Then, ir he decides there’s nothing
else in the world he wants to do —
as 1 did — fine, he’s prepared lo
face the dangers.”

Hus he had the bad periods he
warned his daughters about? He
reaches for the tabic again.

“Touch wood, I’ve been exlreme-
1 ly lucky. I’ve had a few patches that
haven’t been good, and there were
times when I pinched the rolls left
on the. table at a Lyons Comer
House. But I've seldom been out of
work. •

“There are things 1 would like to
have done but couldn't do because
the war came up, but on the whole,
I’m satisfied. Mind you, I’ve done
pictures that sometimes I wish I
hadn't." Which? "Ah now, that’s
something it's best not lo mention in
, case the producers are listening.’’

I Even at 75, one keeps one’s op-
tions open. Because John Mills
I wouldn’t dream of retiring, “and 1
» couldn’t afford to even if I wanted."

Israel two weeks earlier than ex- . man. Yes, we have occasional spats,
peeled, he had lo cancel a dinner or life would be boring, wouldn’t it?

party with the King and. Queen of
Belgium and a banquet . given by
Lord Mayor of London.

■ King Hussein of Jordan Is
another acquaintance: “We’ve met
several times and he seems to
remember me every time.’’

Then would he take a hand in try-
ing to. further , peace negotiations?
He replies earnejtly: ■

“l don't believe actors should be
politically involved. V.anessa
Redgrave Js very ill-advised to do
what she dobs. Art. ifetot shouldn’t
use his personal fame and Image to
try to sway people .oh* fray pr

But we’re a very close family."'

Their children have been less
. fortunate in their marriages. Juliet,
now 39, is currently married to a 22-
year-old actor, and Hayley’s first
marriage, to British producer Roy
Boulting, was a failure. “He was
older, than l am,” sniffs Lady Mills,
. "and he wanted her mainly as a
cook — 'which she does very well/*
Jonathan’s wife .deserted him.

MILLS WAS BORN in a small
English village where his father, a
stern and restless man, was head-
master of the local school. They
lived in the schooihouse with an
outdoor privy “into which l fell at
an : early age,” An enthusiastic
athlete who avoided studying until
his father clamped down on him,
he once broke a school record by
totalling eight out of 300 on three
maths exams..

He made his acting debut at the
age of 11 as Puck in a school
production of A Midsummer Night's
Dream. The applause "started an af-
fair that Will last as long as l live.’’

Vi i_ i 1 i • a !/i .

!33SBH^»g3SgSag3^M^^

jii-jil.su. Now, lie says, he only o c .
cusionully wishes he had “a couple
>>l extra inches" when playing with
tall actresses. “Bui if I'd been any
taller. I would have been somebody
else. Height helps make you what
you are."

He’s 5’ 7”, hut "I lied about my
height for so many years that I
almost believe I’m S'B'/i".’’ Mary
quickly points out: “Don't forget
some of the greatest men in the
world were small. like Nelson or
Ben-Gurion.”

His mother and sister, a dancer,
encouraged his “desperate desire"
to become an actor, but his father
sent him to work as a junior clerk in
a corn -me re hunt’s office. Then he
sold deodorants and toilet paper
while he learned lo tap-dunee, until
he landed his first theatrical job in
the chorus line of n musical

comedy.

DURING a tour of the Far East in
1929 with a repertory company,
playing everything from
Shakespeare to musicals, he met
Noel Coward, who befriended
young John und gave him his first
big break on the London stage.

An accomplished song-and-d&nce
man. Mills appeared in several
Coward revues, and was the first to
sing his ageless “Mad Dogs and
Englishmen." After John was in-
valided out of the army with an
ulcer (he enlisted the day before
war was declared). Coward wrote a
part for him in his great film, In
Which We Serve, and relaunched his
film career.

Mary brought him back to the
stage by writing plays for him, in-
cluding Duet for Two Hands, which
led to “one of the high points of my
life. We had h suite at the Savoy,
which wc couldn't really afford,
wailing for the reviews, They were
marvellous. Then the phone rang,
and Larry Olivier said he’d heard
wc had a hit, and could he come to
that day’s matinee. I rang the
theatre, and couldn’t get a singe
ticket, even for him. We were sold
out!"

It was the sight of Olivier and tne
three other "greats” of the EnglOT
stage — Ralph Richardson, John
Gielgud and Alec Guinness —
gathered at Mills’’ 70lh birthday
parly tliul led publisher Lord

i Wcidenfchl lo commission him to

i write his autobiography, Up W **
Clouds. Gentlemen Please.

His latest film is Gandhi, which
i has 1 1 Osenr nominations, thoy
I none for him, because '!my role a
cameo part. But it’s the best l fil®
I’ve ever seen. Fart of
1 was done in Ashram, which .Gana
i established rather like a k*“

- Many Indians who saw the

I thought It was a reincarnatio

t Gandhi." ... , nnW

t Mills goes to few films no

5 "beenuse we like real s,0 * ie ** w
il films today seem to be made P
. for teenagers and children- But
y liked E.T. which had some«‘
e everyone. Did you knoW . , a eyeS|
eyes of E.T. were Einsteins eK
e tuken from photos? Or at
>1 we were told." . . kone d

’j Hollywood has. often

i- him, "but we wouldnjt wanU

II 4 1 A Uf* nve to VIM

Jonathan’s wife deserted him. (He played the same role 20 years
All three, children, their parents . later at the Old Vjc.) ■ •
say, made the mistake of maityihfc : / His nartiewas. brlginaliy Lewis
top young, before they were even 20 • Ernest Watts Mill*, but he’ decided
~T as Jo ™ nimself. bad done in his , as a youngster that "Lewis was sop-
nrst manage, • , . • py, Ernest didn’t conjure dp 1 the

executive producer' Teri fight, image- and Wktfa was frankly a
Shield^, Brooke s mother and . joke. So I. chose Johji.bccaukc my
manager, is always being questioned Ulster said if would lobk- weli in

fin tlm f IMUI0 Ahri IviltlilnHArtn .^P r .ft ■ . I

1 . ^ " r * v r j 7 l ^ uuiij i uonmre up 1 inc

another. , Even Jaiie h onda, who Sahara executive producer’ Terl fight image- and Watts Was franklv a

do*j know™*! iho’s talking lAiput, Shield*. Brookes roo, titer; and .Jok'Sol

shouldn't u.ie her lipme to sway (jeo- manager, is always, being questioned Wer said if would lobk well in

pie.; ;.: on the trials and tribulations qf lights one daV" * i v : ■ ■ '

• “Tl»e ^Conservative Farty: bringing up- R; child star. HoW did; , * He was a small dfhild, bullied and'
ontfe : .asked me to fid a >!eym»ort the Millses fare? ... beaten by schoolmate* until hu

spot /Or’ Edwato Bbaih during art : . ' "ft .Was exfiwmHnafily : irirteiVddn'cing' partri'cftiilght him

there; though we 1°' w {J ^ dhfl ,
U.S.’ because it’s beau ful ^ Rvc
everything. But hjc m(l
where Wfc' belong and P®y^ hiD gio
there. We feel we bwesom^^
our country, 1 not like the Vjj
people who fco away an ^
and have the best of both w.
without paying for it. ^

-•“With all its strikes, unenip^

ment, crippling l f^°g rt g|aDd , t
jams and fickle ^^ifworld 1 ^
the only country in J; : . 0
happily live in." •' • ' ■ ; ■

1 FRIDAY, MARCHE

he

How much can psychologists and critics contribute to understanding fiction? The question was taken up at two recent
literary evenings devoted to 'Late Divorce/ the controversial novel by A.B. Yehoshua. MARSHA POMERANTZ reports.

THE LONG IS H room is packed
with people sitting at small, round,
glass-lopped tables; those who
came late or thirsty are leaning
against the bar at one end. Here and
there, words rise out of the smoke
and the murmur and seem to sizzle
against the threads of red neon near
the ceiling. The black walls are pat-
terned into small squares by white
metal latticework. Waitresses wind
their way among the tables with
trays of drinks.

On the slightly raised platform
along one black-curtained wail,
mikes await their speakers. The
pianist takes his seat at the
keyboard, his poised hands under
the coloured spotlights casLing pink,
yellow and turquoise shadows on
the polished ivory. His big brown
running shoe approaches the pedals
below. Another literary evening has
begun.

Fiction and poetry sell well in this
country, and literary evenings —
with or without music, with or
without critics, with or without
pastel shadows — are well attended.
This was the second in two months
devoted to A. B. Yehoshua’s latest
novel, Gerushlm M'uharim, or Late
Divorce. The first filled the
auditorium of the Israel Museum in
Jerusalem in December.

But the setting described above is
probably more " atmospheric" than
most for honouring and persecuting
authors, It is the Upstairs Basement
of Beit Lessin, the Histadrut-run
cultural centre in North Tel Aviv,
which offers a range of plays,
cabaret, film, jazz and classical con-
certs, and cofree-house hum.

The literary evening at Beit Les-
sin is a once-a-month affair, usually
opened by a music student at the
Talma Ycllin school. This time it
was Yair Stavi, who was attached to
the brown running shoes and play-
ing Chopin and Liszt. He is a ninth-
grader and the son of the editor of
Yedlot Aharonot ' s literary supple-
ment, but seems quite capable of
making his music without pulling
that string.

Yehoshua — dark, medium
height, wavy salt-and-pepper hair,
with a lisp that seems to come and
go — was joined by psychologists at
the first literary evening, and critics
at the second. He seemed more at
home with the first group, although
they poked and probed his poor
characters — plus Antigone, Anna
Karenina and a fow others — in an
attempt to figure out whether
writers or psychologists have better
tools for opening the psyche’s gear-
box. •

judge from, its gasps and applause,
seemed to believe more than he dia
i J the writer’s uiimcdiated access to
the soul. ..

At one point in the discussion^
analyst Yehuda pried said (of psy-

choiogy) "Whav do you need it all
for?” ■ -1 ■ •

mM

K3E

lit:;: 1 -.

I A, 1

'i.'.'Ji'iii ii.iir.i

illffllM

THE AUTHOR, whom everyone
calls "Boollie,” was oddly tolerant,
and even protective of the psy-
chologists’ contribution to the
generation and understanding - of
hterature — which may or may not
have to do with the fact that his wife
js a psychologist. The audience, to

JUdae from if e naans nn<4 o.hIomm

"Psychology can be a great help...you
can discover startling things, figure
out why the classics are really clas-
sics; Antigone is one because it is
psychologically true." The audience
buzzed with dismay.

How does the discussion apply to
the book? Lunacy, normality, and
the ways they overlap are very
much part of Late Divorce. The
book has nine chapters, each of
which is narrated in the voice of a
different character — a technique
he also used in his earlier novel, The
Lover. The epigraph to the first
chapter of Late Divorce is taken
from Faulkner’s The Sound and the
Fury, apparently to suggest a
literary debt. The story; Yehuda
Kaminka, estranged husband and
father of three and grandfather of
two, returns to Isr'ael after several
years in the U.S. to divorce Naomi,
his wife of many years, who once
apparently tried to kill him and has
since been in the Acre mental
hospital. Separation is not enough
because Kaminka has a woman
friend in the States and another off-
spring on the way;

f -iwi V “"r w yu u' uccu ii tui

»«i ^ nd: l N audience dapped. ' :

: : don, t Understand why you’re

all tfiapjalng,** said Booijie;'

THE BOOK is funny and disturb-
ing; il offers you a new sd of
friends and makes you suspect
yourself for wanting to hang around
with these people. Naomi has a se-
cond self with whom she is often at
war. But is she ahy crazier than her
son and daughter-in-law who livp in

dream-worlds of (respectively)
history and fiction, and who haven’t
got around to consummating their
two-year marriage yet? Yehuda
wonders why his wife says he disap-
pointed her, when he never
promised her anything. Their
homosexual son Zvi sleeps late,
smiles a lot, and takes friends and
family Tor all they’re worth.

• Some readers find the family psy-
chologically convincing, and some
find certain characters more grotes-
que than believable. But the real
controversy arises when the scope
of the book goes beyond the psy-
chology of one-plus-one equals five-
plus-in-laws. Yehuda keeps talking
to himself about the motherland,
tries substituting one landscape for
another — - Israel for Russia, then
the U.S. for Israel. He denies that
Israel is a mere episode in history.
His son the historian is convinced
that some vaccine can be wrung out
of the past to make us immune to
the dangers of the future.

It’s not Antigone or Anna
Karenina on this couch, nor is it
only the Kaminka family. In one
way or another It’s the People of
Israel, their politics and eating
habits. You can just see everyone
elbowing to get on first as the shrink
collects the fare and says "Slide all
way lo the and, and no
smefclng.? .

with the political or national in-
terpretation of this troubled family’s
history — and that was the reason
for the second literary evening, at
which Yehoshua sat with the critics.
Asked later wholherthe experience
was painful or pleasurable, he
acknowledged that it was more the
former than the latter. Then why do
il?

THE QUESTION is how: far to go

* : 5 v :
"■ '.'.i

TH* JBEUSAUDM FOOT JUBAIMB

grotesque results; they don't
manage Lo stay married, and they
don’t quite succeed in getting
divorced.

Oren sees Naomi's schizophrenia
us the doubling of Israel's territory
in 1967, and her attempt to kill
Yehuda — she goes at him with a
knife one rosy dawn — is an effort
to cut things in half again.

Nili Sudan, a critic whose in-
terpretation is more psychological,
pointed out that if (he text doesn’t
indicate it wants to be an allegory,
you can't force il.

Oren of course suw sufficient
justification for his allegory and said
he was driven to it because the book
is psychologically absurd: “What
happens isn't meaningful unless it's
allegorical,’ ' he insisted.

"In a moment of weakness, I
thought il might resolve some of the
questions left by the extremes of in-
terpretation," he said.

Yehoshua himself refused lo give
his approval to any single in-
terpretation, partly because he
wanted to stay out of trouble and
partly because critics discover some
things that weren't consciously in-
tended at the time of writing. He
preferred to let the critics knock
their heads together. ’Tmjust here
to read a passage from the book,"
he said with the innocence of a little
boy who has short-circuited
everybody else’s lamp.

The most controversial In-
terpretation was (hat of Yosef Oren,
who had written a long essay for
Yedlot Aharonot and was on haiid for
the discussion. He saw the book, as
ah allegory or Zionist history; with
Naomi representing both Sephar-
dim (she 1 is partly Abarbanel) and
the land itself. Yehuda, who conies
horn Russia^ represents the .Western
dream. The couplitig of the two has

THE THIRD critic. Mcnahem Peri,
said that if Oren wanted an al-
legorical interpretation, why not sec
il as a book about Jews and Arabs in
a nu-marriage-no-divorce situation?
Kcdmi, the son-in-law who is a
lawyer and lakes on the legal ar-
rangements, could be Kissinger the
peucc-muker, said Peri, playing the
devil's advocate.

Yitzhak Livni, as moderator, was
good at goading the participants on,
but Boollie was not much help at
all. When one of the participants
started talking about symbolism, he
suid ’‘Sure there’s symbolism.
You’re n symbol too. For what? I’ll
find something.”

In (he end Peri made the point
that an interpretation could be
found to include both the psy-
chological and the political aspects,
but that it would have to start with
un inclusive examination of words
and structure. Peri, incidentally, is
the editor of Siman Krl'a, the
literary review which is co-publisher
of the book, with Haklbbutz
Hameuhad. (An English translation,
by Hillel Halkin, will be published
by Doubleday in New York.)

In his opinion, which seemed the
most lucidly argued of all, the
characters are analogues for each
other, inside and outside the
asylum. All of them insulate
themselves in some way from
reality, until disaster jars them into
seeing their lives for what they are,
The most vivid example of such in-
sulation is an incident in which Gadi
the grandchild dons a raincoat and
hat and uses sugar tongs lo change
his baby sister's diaper.

Is there, aside from the humour,
real hope In the book? A grand-
motherly woman in the audience
was sure there is: she kept inter-
rupting the debate, and once ap-
pealed to Boollie: "Didn't you
mean to show how 1967 destroyed
us and that there's hope in the third
generation?"

“I can't answer." suid the inno-
cent author. "What if I say no and
the book says yes, or I say yes and
the book says no?"

. Whatever the ultimate interpreta-
tion, it tickles h very delicate spot in
the individual; and nationnl psyche.
Yehoshua is about to receive the
Brenner Prize for literature from
the Israel Writers’ Association; the
book; like his others, sells well, and
people will probably keep coming
to literary evenings to hear him
keep' his secrets to himself. □

PAGE ELEVEN

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I

NATHAN PtKLMUTTER,
national director on the Anli-
Du tarnation League of B'nai H'riih,
former associate national director
or llic American Jewish Committee,
and former vice-president of
development at Brandcis Univer-
sity. probably knowns as much
about American unli-Sernilism as
anyone alive. His life's work has
been the testing of gentile currents
of thought in order to detect new
and disturbing developments, and
to help American Jews formulate
strategies in defence oT their
legitimate interests.

In this major work, The Real Anti-
Semirism in America, which he wrote
with his wife, Ruth Ann Perlrmiller,
he examines his old enemy, and
conies to some disturbing conclu-
sions.

His first encounter with outright
anti-Semitism was hs u young man
when, searching through the news-
paper help u tinted columns, he
came up against the terse door-
slammer; “Chrs. only need apply/*
He allows that, in the intervening
years, he and anti-Semitism hnve
“grown old together." And there's
the rub.

He is still the urbane, cultured
child ol Yiddish-speaking parents
who has seen in his own lifetime
that grcul leap forward of Americnn
Jewry, and who has accomplished
the feat of being an American and u
Jew in more or less harmonious
combination.

BUT ANTI-SEMITISM is not what
it was. Rather, it is more than it was
in the crude old “Chrs. only need
apply” days. While the Jews have
had their big guns (ruined on the
blatant bigots, their wily old Foe, in
a new, respectable guise, hns slip-
ped into the fort the hack vvuy.

The result is a confused, uneasy
J.ewish community that is no longer
sure just who the enemy is. And no
wonder. For the polls — the

THE REAL ANTI-SEMITISM by
Nathan Perlmuttcr and Ruth Ann
Perl mutter. New York, Arbor
House. .10.1 pp. 115.50.

Mordechai Benjamin

endless, costly sociological surveys
by which Jews take the national
temperature in the hopes of
detecting the virus before the rash
breaks out — are telling only half
the story, und it is the half the Jews
know already.

Survey niter survey suggests that
some 30 per cent of the American
public continues to harbour in-
cipiently unfriendly views of Jews.
K.u Klux Klun membership has risen
20 jwr cent in recent years, and in
1 981, for the third consecu tive year,
the number of reported anti-Semitic
incidents more than doubled. Polls
also show that with the exception of
black Americans, where the

younger and better educated are
more anti-Semitic than their
parents, old-style anti-Semitism is
on the wane.

Young, white, educated
Americans are demonstrably less
itnli-Semiiic than their parents. But
is that necessarily good news for the
Jews? For the neat irony is that
older, conservative Americans, who
readily confess to the pollsters their
belief that Jews are tricky, clannish
and too much in control of things,
are also more likely to support the
defence expenditure that shields
Isruel. While their liberal children,
who are so tolerant of Jews on a
personal ' level, grow increasingly
isolationist und hostile to Israel’s
point of view.

WHO IS IT who poses the greatest
threat to the Jews as we round the
bend for the 21st century? The
KKK. man or the. university lecturer
who has nothing against Jews but
who openly espouses Arab causes;

the swastika-dauber or the black
community leader who has ridden
the civil rights train to success and
whose speeches are now filled with
unconcealed anti-Jewish, anti-Israel
rhetoric; the working-class Archie
Bunker or the Protestant minister,
no anti-Semite he, who cun declare
more in sorrow than in anger that
“the price of peace may have to be
the death of Israel"?

“Stand with me on the corner of
Forty-second Street and First
Avenue in New York City in front
of the United Nations," writes
Perlmuttcr. "Let us watch the
diplomats on their way to work.
Turbaned men, women in saris, tall
Black men and short swarthy men,
blond Europeans and yellow Orien-
tals — all well groomed, educated,
cosmopolitan diplomats.

“Surely there isn’t one among
them who is a Klansman. Surely
there isn’t one who would, under
night's cover, furtively sneak onto u
Jew's lawn, daub a swastika on his
door. But who threatens Jews more
ominously — the diplomats who
regularly affirm that Zionism is
racism, or the juveniles with paint
cans?"

This, he says, is the real anti-
Semitism. American Jewry, fresh
from decades of victories in the
fields of civil rights and anti-
discrimination legislation, now
faces an enemy it scarcely
recognizes und hardly knows how
lo fight.

THE NEW anti-Semitism is an a-
Scmitic adversary that equates
Zionism with racism, reviles and os-
tracizes Israel in international
forums, and pays cynical obeisance
to the power of oil.

Its hand is to be found in the at-
tempts — so fur unsuccessful — to
destroy the electoral college and
thereby blunt the cutting edge of
Jewish political power. It is to be
found in the “affirmative action”

programmes that have legiiimized
rcaciul and ethnic criteria for ad-
mission lo university and hiring at
all levels ot American society, and
gravely endanger the impressive
gains made by American Jews.

Perlmuttcr sees the AWACS bat-
tle. when respectable American
politicians with good track-
recordson Israel ruthlessly used the
weapon of anti-Semitism against the
Jews, as just a warm-up for the bat-
tles to conic. But the next time that
the U.S. and Israel clash on a fun-
damental issue, the tactics will be
dirtier, the accusations of dual
loyally more shrill, und the sense of
vulnerability of American Jews
greater.

Indeed, Perlniuliur sees the issue
of Israel and the future of American
Jewry as inextricably intertwined, it
is here that the new nnti-Semites,
whatever their regard for Jews as in-
dividuals, pose a threat that ii
“potentially mortal to Israel, poten-
tially maiming to the Diaspora."

WHAT IS to be done? PerlmuUer,
in this anecdotal, deeply personal
book, which would be a fine primer
for any Israeli wanting to know
whut the American Jews are up
against, has an answer. He insists
that American Jews reassess their
situation and their alliances, and be
quick, clear-eyed and sophisticated
about it. Traditional Jewish al-
legiance to the political Left needs
stringent reappraisal. Having deter- [

mined their priorities, Jews must
come out fighting. •

And if that weren’t enough, Jews
in America must deepen their
Jewish commitment and that of '

their children in order to staunch f

the flood of assimilation and c

engender self-confidence at a time |-

when Jews feel increasingly 5.

vulnerable. . £

It’s no problem really. The Jews
must Imvc to act as smart as every
anti-Semite knows they are. □

THE PALESTINIAN question is,
beyond a doubt, one of the most dis-
cussed but least understood issues
of our time. Though frequency and
heatedly debated, it has not been
particularly served by the scholarly
and scientific - community (with
same notable — not very numerous
— exceptions). Two major gaps in
the literature are: informative
analysis of the geography,
economy and society involved on
the political as well as non-political
levels; and imaginative, creative ap-
proaches to the macro-political
dilemmas involved. The collection
of articles in this volume, which was
developed and written in the
Jerusalem Institute for Federal
Studies, helps to reduce the size of
the first gap; the concluding essay
by Elazar, "Shared Ruler A Prere-
quisite for Peace," helps lo redress
the second.

...This volume is a bit uneven in
terms of quality, but the overall
■ average; is higher than the accepted
siahdard. The’ information and
statistics, contained’ in the articles
ard, often fresh and • thought- ■
provoking;, particularly as analyzed
in the. volume by sqhola/s ad 'Well Os ;
practitioners in the field, Also, the
.authors address 4hemiic)ve$ (0 ;
micro-issues often neglected (e.g., :
A. Luviue on "Social Serijccs in the :
Administered ^TerrUories^ 1 S, Levi:
On ‘‘Local Government ijh thid ■ A'd-j
. ministered Territories'^ v:- • .■£ j
On.- macro:poliUcs,^R,; Yqrdfs
"The Administered Tefritorips.-ami
; ithe Inlernhl SecuritV of Israel" fihu
M.; . N is ait ‘s :'V Tji c Pal e sti ni ait
Features Jordan ** provide a fine,
1 though quite controversial; per* pec

Sharing sovereignty

JUDEA, SAMARIA AND GAZA:
Views on (he Present and Future,
edited by Daniel Elazar,
Washington, American Enterprise
institute. 222 pp. S1S.75 (paper-
back, 59,75)

Gabriel Ben-Dor

live. A particularly attractive con-
tribution to the field is the study of
the physical, geographical and ter-
ritorial components of the Israeli*
Palestinian conflict (E. Efrat's
“Spatial Patterns of Jewish and
Arab Settlement in Judea and
' Samaria, " M. Drori's “The Israeli
Settlements in Judea and Samaria:
Legal Aspects,'* J. Schwartz's
“Water Resources 'in Judea,
Samaria and the Gaza Slip," and
“The Political Economy of the Ad-
ministered Territories." by S.
Sandler with H. Frisch). The value
of. these studies would have btjen
further enhanced by a bibliography
and index, which are unfortunately
not to be found,

.THE PAYOFF, in more ways than
one* Is iiV .Ela*ajr’B Own Concluding
essay. Ttyfei, represents, the creative
t h.i n k ip g y t h a i. - ; h as e V oj y e.d
throughout The years" !qf .studies;
c.dnfcrtbOea; qnd; other activities ln>
(finted bjAhjf J erusaiem Jnsfimie, for
. Studies (under,. Eldar’s

cjbairinapship);' . The 'bdncep'tual
framework < 1$;. that ; of shared rule,
• . t'lidi 1 is, Thinking abouLcpjnpromlsft
not necessarily jnterittsb^ partition-

ing land, but rather “partitioning"
government, which means sharing
sovereignty. This is a variety of
federalism ("the politics of eating
your cake and having it too").
Elazar is one of the leading
authorities in the study of
federalism in the world, and this
alone should command a respectful
audience for what he has to say by
way of an alternative approach to
the stalemate in the Israeli-
Palestinian conflict.

Elazar and his colleagues
recognize the existence of two peo-
ples who, in the name of self-
determination, claim sovereignly
over substantially the same ter-
ritory. Unlike many others, though,
Elazar rejects the “might makes
right" type of reasoning, as he re-
jects the necessity for the people or
Israel to "live forever by the
sword,”

. On the other hand, he does not
believe in “re-partitioning” in a dis-
sociative vein, thus recreating small
entities in a fractured Palestine that
may continue to vie for sovereignty
oyer the land -4 all or in part,
j Rather, he advances the following
afgumenl (p. 221); “The; territory
/■now shared by Ijpth. peoples, on. the
. . father hand,; shoitld be subject to the
*i| •„ PjOssiblq amount .‘.tp
scared rule .'since theyseyeralcjm-
manU all- 'hav? legidmaic claims
\yith regaijd> tp. It. -Ia(ael has a
historical; right; which! has a. certain
status in inierpatjohal lavy. whilcThe

Palestinians have a right of oc-
cupancy strongly supported in inter-
national politics. The only way lo
satisfy these conflicting claims is .
through sharing the territory in
some way."

The argument rests, to a large ex-
tent, on Elazar's contention that
"since people in the Middle East
have never depended upon territory
to legitimize or even lo maintain
their existence, but only use it as h
form of accommodation, the provi-
sion of self-rule for them as peoples
does not preclude shared rule by
two or more peoples over the same
territories which they may occupy
or in which they have rights vested
simultaneously.” .

ONE MAY disagree, partially or
altogether. But Elazar's arguments
are buttressed by some strong
evidence throughout the book, as
well as by two previous volumes
edited by him on substantially the
same subject: Federalism and
Political Integration and Self-
Rules/Shared Ride: Federal Solutions
to the Middle East Conflict ! (both
published in Israel by Turtledove in
1979). The former contains
theoretical contributions as well, as
cases of precedents in the Middle,
East, ,a|ong with .a lengthy and
Retailed inventor/ of arrangements
for self-rule and autonomy. The lat-
ter. contains comparative studies in
federal arrangements and possible
applications to the Middle, East.
The volume, now reviewed anchors
the concept ; of ; shared rule in stilt
inore ; profound geographic and,
social studies . of the political con-

Yet one may question the
viability of the federal option a!
premature, us an alien concept 10
the region, as a state of political
development and integration nol
yel attainable in Arab-lsraeli rela-
tions. Perhaps all these criticisms
arc valid lo some extent. On the
other hand, no alternative approach
to resolving the Ismeli-Patealinian
dilemma has appeured very viable
either. Thus one must give ine
federal option at least h conceptual
cluinco.

If there is a lesson to be ex-
tradited from the federal experi-
ment elsewhere, it is that a cultural
intellectual environment must m
created to allow a federal structure
eventually to function. What **
rend is a Middle Eastern version “
the Federalist Papers. When the in-
tellectual elite in the Arab worm
starts thinking seriously In federal
terms and concepts, a real dialogue
■will have been created. To W«
dialogue the present volume
written entirely by Israeli .wholes
and practitioners — makes a re
contribution, and it deserves to
read and considered thoroughly, a
the Chinese so aptly put it, even 1 1
longest journey begins with a sing;
step, If there is to be a • row--
federalism as conflict resolution

Ihii part of Ihe world, . Elaz«>
work, and this particular voluf"*'
constitute a substantial step
deed. ' . •' '

te.sLV.,1

Professor Ben-Dor If fro-ReJ
Haifa University where he also
Political Science. His boohs
"The Palestinians and the

r. A /!•.•»

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I

!

NOBODY IS immune lo staring at
photos. It is as though the eyes by
sheer force of concentration are try-
ing to reverse the- photographic
process: to return a two-
dimensional image to its three-
dimensional reality, to bring a
frozen fraction of a second back to
life.

Not long ago I found myself star-
ing shamelessly at a photograph. I
couldn't stop. At first I didn’t know
what to make of it. The leafy scales,
the fibrous hairs, and the tear-drop
opening in the middle baffled me. 1
turned the picture over, seeking a
caption. When I turned back to the
print side with my curiosity
satisfied, 1 was (hen able to enjoy
the beauty of the photograph itself.
The asymmetry of the abstract
forms and the play of black and
while with other-worldly greys in
between riveted my eyes to the
image in my hands. It was, by the
wny, a picture of an ant's anus
magnified eight hundred times.

It wasn't the ant's ass that par-
ticularly fascinated me, but the
photograph of an ant's ass. The
photograph mesmerised me. To me
it was completely original, fresh and
unique. In its own small way this
photograph was a classic, in the
sense that all classic photographs
focus the eye or the viewer on
images which are removed from
their contexts. What people
wouldn't even notice in context,
they will shamelessly stare at in a
photograph.

The hnaglnary Photo Museum as-
sembled by "curators” Renate and
L. Fritz Gruber is the ideal classic
collection. First exhibited at the
1980 Cologne Photokina and now in
book form, the "museum" repre-
sents perhaps the most popular 457
photographs ever taken from 1836
to the present. These photos are not
popular because critics say they are
good, but because ordinary people
simply enjoy looking at them, so
much so that they can't take their
eyes off them.

The book is not only a joy to look
at but also a lesson, in fact, many
lessons. The first is that
photographs, more than any other
medium of communication, easily

The frozen moment

THE IMAGINARY PHOTO
MUSEUM by Renate and L. Fritz
Gruber. Hftrmondsworth, Penguin.
270 pp. No price slated.

David Brauner

traverse lime and space. A
photograph thnt only takes a split
second to make can conceivably
last forever. And because
photographs arc so easily
reproduced in and of themselves, as
well as on pnper and film, they can
be moved from pole to pole und
anywhere in between almost instan-
taneously.

ALL THIS means is that Timothy
O’Sullivan's 120-year-old American
Civil War photo of dead Union
soldiers lias the same powerful im-
pact as Robert Capa's 1944 D-Day,
despite vastly removed times and
places. And Etienne Carjat's 1870
portrait of a stout Rossini’s arched
smiling eyes is no more distant to to-
day’s viewer than Richard Avedon’s

1972 close-up of a hard-mouthed
John Ford with un eye-patch over
his glasses.

From the historical section of the
“museum" it is clear that early
photographers were strongly in-
fluenced by their grand-uncles, the
painters. Portraits were full-bodied
and artificially posed in ateliers with
corny backgrounds. Napoleon
Surony has Oscur Wilde (cu, 1892}
reclining on a benr rug with what
appears to be some native fire
dance raging in the background.
Many of the landscapes are pure
impressionism, both in subject and
style. Puyo’s 1896 “Woman with
Sunshade by the Waterside" is a
misty affair in which detail is es-
chewed for artistic effect.

Only in the 20th century, with its
vast improvements on the technical
side, did photographers like Man
Ray, Edward Weston and Ansel
Adams begin lo explore and ap-
preciate more fully the meaning of
photography — literally, “writing
with light." The understanding and
manipulation of light weaned

photography away from painting
and made it an independent and
full-fledged art form standing on its
own.

WHEREVER photographers went,
whether into the heart of a shell, to
the scene of a murder or beyond the
natural into solarization or superim-
position, they enlarged the frontiers
of their art. Irving Penn's 1957
Picasso shows only one of the
master's glassy eyes; the other is
sunk deep in the shadow of his
wide-brimmed hat. Weegee (Arthur
Fellig), a top news photographer of
the Forties, sheds a harsh flash over
the shocked and angered faces of an
old couple standing on the street
with clothes in hand after their evic-
tion. And Andre Kertesz focuses
sharply on the soft, silvery tones of
something as ordinary as a dinner
fork, and makes it into an eye-
arresting composition.

Afterlight, another important les-
son to be learned from the master
workers is simplicity. Most of the
photographs are renderings of
faces, scenes und objects as the
nnlurul eye would see them. Fish-
eye lenses, soft focus filters and
starlight effects — all that equip-
ment that the manufacturers and
magazines hawk — arc strictly
taboo. Simple, straight-forward
shots make the most powerful and
lasting statements.

Lesser lessons, like timing, the
judicious use of angles and depth of
field urc ulso apparent. A 1908
photo of n little girl working in a
cotton mill combines all these
elements in one very sad picture.

The Imaginary Photo Museum is
divided into a number of depart-
ments. The chronology section,
(that is, the photos in history os op-
posed lo the history of
photography) overlaps separate
chapters on the object, the nude,
the event and the vision, among
others, There is also a small colour
section, which again features a
variety of subject matter. The
organization along too many dif-
ferent lines leads lo a breakdown in
continuity.

Nevertheless, nothing can detract
front the photographs themselves. □

"GOOD HEAVENS, NOI"
retorted Margaret Suiiavan lo the
reporter’s query, “Who on earth
would want to marry Henry Fon-
da?" A few decades later, Henry
Fonda himself wns able to answer
this question. “I’ve been married
five times and I’m goddamn
ashamed of it." Margaret Suiiavan
was his first wife. The part of best
man at his weddings was allotted to
such well known show business
figures as his son Peter, Rent Smith,
Joshua Logan and George Peppard.

Howard Teichmann, collaborator
and biographer of George, S.
Kaufman, has taken Fonda’s
recorded reminiscences and in-
terspersed them With those of his
family, friends and associates to
make a book which can best be
described aft 1 anecdotal.

Henry Fonda belonged to a group
of actors that Included his good
frtends, James Stewart and Gary
Uoopcr, who could never be success-
fully cast as villains, because their
integrity was too deeply, impressed
JjP° n l he public consciousness.
When, in ; a spaghetti, Western,
ronda was called upon to shobt a
S A ma ; V°y . dead (n cold blood,

America couldn't' take it and that
moment i s never shown when 'the
turn is screened on television there.

That he also belonged to a group
j now referred to as legends
. the ‘ r profession was not obvious

Celluloid integrity

FONDA, MY LIFE. As told to
Howard Teichmann. New York,
New American Library, 399 pp.
S6.50.

Hillel Tryster

until his last few years. On Golden
Pond made everyone sit up and
think that Fonda must be a
phenomenon to give such a perfor-
mance so late in his career.

BORN IN Nebraska in 1905, he
began acting when Marlon
Brando's mother needed a juvenile
for the Omaha Community
Playhouse, of which she was one of
the founders. When he read his first
script he didn't know the difference
between dialogue and stage direc-
tions. (The prpblem recurred when
he made his first film. Fonda was
unable to fathom the purpose of a
charac ter named Dolly, who kept on
appearing but was never given any
lines.)

• In 1934 he finally started at-
tracting attention on Broadway, in
an edition of Leonard Sillman’s New
Fades: He was then given', the lead
role in.TAe Farmer Takes a W(fe, and

his movie debut in the same part fol-
lowed. After a few years as a free-
lance film uctor, he signed an
irksome seven-year contract with
Twentieth Century Fox, which was
Darryl Zartuck's price for letting
him play Tom Joad in The Grapes of
M 'rath. Nol even Mister Roberts, his
greatest stage success, could blur
people's memory of his perfor-
mance in this film, or prevent it
from being the one he was
remembered by,

. His personal life was not eternally
tranquil, as his marital statistics in-
dicate. The problems that every
parent has with his children were in-
tensified in Fonda's case, for his
children were celebrities in their
own right. "Jane and Peter have
given me pain, sure, but mostly
they've given me pleasure.” Acting
on stage with Jane, he was so spell-
bound by her performance that he
once forgot to go on with the play
after she made her exit;

The book takes us up to the last
important event in his life, his Oscar
for On Golden Pond, I understand
we are soon to . see another film in-
spired by its success, this time with
James Stewart and Bette Davis,
whom' Fonda bnce dated .when' she

was 17 and they were both un-
known.

IN HIS Kaufman biography,
Teichmann gave us a wonderfully
complete account of the Old Cur-
mudgeon's achievements as both
playwright and director, so i was a
little disappointed not to find' a
filmography here.

There are, however, compensa-
tions. Like the Barrymore brothers
and Gory Cooper, Fonda was a
gifted artist. During his eariy career,
when he was unable to find employ-
ment as an actor, he managed to
survive by painting scenery. A few
years ago an original Henry Fonda
was sold at auction for 523,000,

• It is appropriate that the last
image the reader has of Fonda
should be one of absolute peace.
Margaret Hamilton, who was later
immortalized os the wicked witch in-
The Wizard of Oz, was in the
Broadway cast of The Farmer Takes
a Wife. A couple of weeks after the
opening she arrived for a matinee
about an hour and a half-before cur-
tain time. The stage was lit only by a
work light, and it was empty , until
Henry .Fonda. came on carrying a
large number of folded papers.
While Miss' Hamilton Watched, un-
observed and enchanted,. New.
York's latest discovery stood,, ab-
, sqrbedly flying paper planes into the
wings. . ■

Hie needle

ACUPUNCTURE MEDICINE, Its
Historical and Clinical Background
by Yoshiaki Omura. Tokyo, Japan
Publications. 287 pp. 529.50.

D’vora Ben Shaul

THE ENDORPHINS, natural pain
killers of the body, were only dis-
covered in the latter half of the 20th
century. But almost 3,000 years ago
acupuncturists in China had learned
the secret of their activation. This,
at least until now, is the most
reasonable explanation offered by
modern science to explain how
acupuncture works.

And acupuncture does work. Not
only millions in the East attest to the
efficacy of the system, but today
many thousands of Westerners have
good reason to bear witness that
such varied conditions us arthritis,
neuralgia, chronic back pain,
headaches, fiver disease and obesity
can be successfully treated by the
insertion of steel needles, less than
half a millimetre in diameter, into
various sites in the body.

When the first American physi-
cians in recent years visited China
in the Sixties they were surprised.
First at the modernity and highly
advanced medical services, and se-
cond, that in the some hospital that
was equipped with artificial hearts
and kidneys and the most modern
types of scanners, acupuncture was
still being practised. Not only was it
being practised but it wus given
equal status with what the
Westerners thought of as real
medicine.

When the Western visitors had
been around for a while they often
became convinced that there was,
after all, something in this ancient
form of treatment. That in some
cases it just might be the' treatment
of choice. From this group came the
first medically trained practitioners
of acupuncture medicine in the
Western world.

THE WRITER of this impressive
and beautifully produced book is a
man who might be called Professor
Acupuncture himself. Omura has
been teaching ucupunclure
medicine in the U.S. for more than
20 years, and is a world-known
authority on the subject. His fine
educational background and
membership in some of the world’s
most prestigious societies have
served to help convince Western
physicians of the validity of the
system he teaches.

According to Omura, the best
way to use acupuncture is to use it
when it is needed. Especially for the
relief of pain, either in chronic con-
ditions or following surgery.

Omura also discusses the system
of Shi-Atzu (Acupressure), often
referred to as acupuncture without
needles. In one of the many clear
diagrams he shows the major pres-
sure points for the emergency relief
of pain or for stopping internal
bleeding.

He also introduces the
reader to reflexology, the diagnosis
of physical conditions by feeling
certain areas of the Tcet, and the use
of smell, henring and the visual ex-
amination or the palms of the hands
and of the fingernails in making a
. diagnosis. '

. . ; ■ The book 1 is' lavishly, illustrated
‘with more than 100' drawings,
[diagrams arid reproductions of an-
cient charts of the human body, a
detailed appendix and u complete
bibliography.; □

frhuy; march ii, 1983

nils jbbUsauSm post magazine

PAGE THIRTEEN

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Human

I

I

JEAN LACOUTURE'S powerful
biography of Leon Blum, the
French Socialist whose Popular
Front government achieved world-
wide attention in the Thirties,
refutes the socialist stereotype.
Blum was an intellectual, a per-
suader, a reasoner who abhorred
force. Yet he was able to carve a
place for himself in the ruthless
world of French politics, and to
achieve important goals in difficult
circumstances.

Blum considered himself in the
great French democratic tradition.

It was the tradition of the still un-
completed Revolution of 1789, and
socialism would be its crowning
glory. His socialism was not the
pure, dry dialectic of Marx and
Engels. Blum, whose hero was Jean
, j mires, believed that socialism must
be leavened with humanity. Il
meant more than taking over the
means or production from the
capitalists; the masses must be
shown the way to u happier, more
productive life. And they must be
reasoned into it, not cajoled.

Even when Blum, as prime
minister, could dispose of the full
force of the French government, he
shrank from using il. There was
tremendous pressure on him to use
force against sit-down strikers oc-
cupying factories throughout
France, but he refused. Patiently,
he worked out agreements with the
employers which conceded
workers substantial and. justified
wage increases they should have
received years before. The strikers
in the factories were in a holiday
mood.

The bourgeoisie, who had been in
hourly expectation of civil war,
were amazed at the workers’ naive
good humour. Blum gave France
the 40*hour work week, two-week
paid vacations, and a shake-up at
the Bank of France that broke the
economic stranglehold of the Two
Hundred Families on the French
economy. He even created a
Ministry of Leisure to help workers
learn how to enjoy their new-found
free time. Blum gave one of the
most rigid, class- ridden societies in
Europe a very French kind of 4lan.

Ever the optimist, he achieved
these remarkable successes against
a background or disillusion,
weariness and fear. He lived and

LEON BLUM by Jean Lacoulure.
Translated by George Holoch. New
York, London, Holmes A Meier.
?7I pp. No price stated.

Seymour Geldin

died with the French Third
Republic, which was one of the
least glorious epochs in French
historv. The Third Republic was
born out of the defeat ol the
Fran co- Prussian War and the smoke
of the Paris Commune. It died with
the collapse before Hitler's armies
in P>40. It was riddled with scandals
and corruption almost from the
start.

First there was the Panama Canal
scandal in the 1880s. Then, there
was the Boulanger Affair — a eoup
d'etat that almost succeeded. The
Dreyfus Affair revealed latent anti-
Semitism and military corruption.
The Stnvisky Affair was the finan-
cial sensation of the Thirties. With
the Depression, unemployment
swelled.

LEON BLUM somehow had the
temperament to sustain all this. This
tall, always affable, aristocratic
gentleman was steeped in French
culture. At ten, he could quote from
French classics. His classmate was
Andri Gide. His contemporaries
were Gide, Proust and Mallarmd.
He contributed articles to La Revue
Blanche. He wrote theatre
criticism, a book about his favourite
author, Slendahi. several novels,
and a book on marriage. He con-
tributed newspaper articles an
socialism till his death. He was a
writer, a lawyer, a politician, and a
parliamentarian par excellence. His
credentials as a French intellectual
were impeccable.

Perhaps his French credentials
were a little too good. Like many
Diaspora Jews, he was a little too
enthusiastic about the country where
he’d been born and grew up, and he
came to suffer for it. He was fre-
quently taunted in the Chamber of
Deputies because he .was Jewish. In
1936, he was attacked on the street
and beaten by a rightist mob, He
didn’t flee in 1940. He was a defen-
dant in n show-trial mounted by the
Vichy Government, which tried to
establish that he, Daladier and
Gamelin had helped cause the dis-

aster of 1940. Two years followed in
prison, and another two years in
Uuchenwuld. Il was in Buchenwaid
that Blum first read his “friend"
Andrd Hide's viciously anti-Semitic
description of him in his 1914 Joiir-
nuls 1 1 began, “It is enough for me
that the qualities of the Jewish race
are not French qualities..." After
Blum read this, he murmured quiet-
ly, “Even so, I like Andni Gide very
much.”

That may have been his tragedy.

He was constantly underestimating
what his Jewishness meant to
others. Like many politicians or the
time, lie underestimated Hitler. In
I*i 3 |, he wrote that Hitler was
linished. As prime minister, he
knew lu»w totally unprepared for
war France was. and he sought
peace through disarmament talks,
which tailed.

Blum could be intensely preoc-
cupied with his socialist brothers in
the Spanish Civil War to the south
but. according to this book, he
couldn't muster that mueh concern
for his fellow Jews to the east in
Germany. The present biography,
for instance, records no comment of
his about 17-ycar-old Herschel
Greenspan, whose father was In a
concentration camp, and who shot
the German diplomat Von Neurath
in Paris in 1938 — an event which
led to Kristallnacht. As for Israel,
he saw this country as a dumping
ground for Jews in dislress. He cer-
tainly did not envisage it as a home
for himself or any other assimilated
Jew in a democratic Western
country. Blum died quietly in 1950,
survived by his third wire (the first
two died), his son and daughter-in-
law and his granddaughter.

' The appearance of this biography
, is encouraging. it may indicate that
the 40-year-old French trauma has
■ worked itself out, and that the Third
. Republic, with all Its faults, can be
i faced objectively. Its pages are
crammed with names from a dead
, era of French politics. They busily
* shape and rc-slmpe government
l that fall apart almost as soon as they
° arc formed. Most of them offered
I nothing und accomplished nothing
Bui u Tew of these names still am
J r some resonance: Laval, Pclftin,
31 Reynaud, Daladier, De Gaulle.

b" George Holoch’s fine translation
[e conveys Lacoulure's Gallic balance
n- of reason and passion touched win
ie wit. The best recommendation 1 can
lo give this work is that sophistical
,d Lion Blum himseir would probaDg
is- have enjoyed il.

v-f . ; V": i \ V J ; s.V v> - 1 T />

THE POST occasionally publishes
two editorials but it has long given
up printing what used to be known
around the newsroom as Second
Leaders. These were what Graham
Greene terms entertainments, the
treatment of weighty and less
weighty matters in the form of the
humorous — and mercifully brief —
essay; it was an unwritten rule that
Second' Leaders were to run to no
more ijtan 350 well- Chosen words.

• T|ic Second Leader has long fal-
len into a decline, elsewhere as well;
the species is virtually extinct and
has been replaced by the column, or
rather by the columnist who himself '
fends off extinction Through' ayn-. ;
dication, an endeavour that tends to
make the writer all things to all
men. ,••• ■ ■ ■ *■'_

B ernard Levin "is one of the,
few born Second^ Leader writers stilf

s writer

SPEAKING UP by Bernard Levin.
London, Jonathan Cape. 267
pp. £8.50.

Meir Ronnen

extant. While he never makes light
of serious mutters, he is at his best
when staling his reasons for preferr-
ing cats to dogs.

This Is the latest collection of
Levin’s columns in The Times, more
than 50 of them, published over the
last, decade or. so. The opening salvo
won me pver at once: a deft finger
in the collective left eye of a group
of Marxist editors anji dons who
wrote to. .the press , expressing in-
dignation at "sensational jour-
nalism” in the matter of Tqffaire
Blunt. Levin -yearns for the day's
when nbbody would have any
i difficulty 1 ri (eetlng disguse at
the /revelation of Sir Ahthony

Blunt’s treachery. ,

Like all born Second Lcade
writers, Uvln often begins a jw**
with u piquant quote irom tneo ;

pr "The owner of a halrdressi^
salon who punched one of his
in the face, dragged him acres* _
salon floor and kneed him in ,
groin, said at an industrial
in Birmingham thut he had n
missed him.” ,

Levin then makes somcthHJJ
knowing when you’re not .
He also latches onto boo”,
impenetrable concert , n0 M u er >j
liculprly those that praise M8W ^
and plays like The
words he manages 8 ay about

everything you warned to say^^.
Pinttr and didn t dare th m • ^

also lambast the British
Committee for daring to
of sending athletes 10 ^ a:

Propaganda - Games. Le
tin ear for tire elegant
sentence. He Is a . 0

reader's writer.

Between two hells

THE ORCHIDS by Thomas H.
Cook. Boston. Houghton Mifflin.
252 pp. 512.95.

Esther Hecht

THE FALL of fools is never us in-
teresting us the fall of clever men.
How unthinking bureaucrats were
caught up in the greatest crime and
mural mystery of all time is hardly
as absorbing — or enlightening —
us how highly intelligent and
idealistic people became ac-
complices.

77ic Orchids is the fictional jour-
nal of the aging Peter Langhof who,
as a young doctor, performed
medical experiments on concentra-
tion camp inmates. Hidden for the
rest of his life in a steamy South
American republic, he uses dia-
monds — the gift of a Jew in the
Camp — to buy protection for
himself and his companion Dr.
Ludiz, and ponders his pnst. in the
journul Langhof retraces an unusual
spiritual journey and sums up the
wisdom gleaned from years of mer-
ciless, purgatorial introspection.

LanghoFs father, a frustrated
middle-class lawyer, “dreamed of
the hard muscularity of his Teutonic
gods and in his victimized imagina-
tion saw himself as a trim steel
cylinder of righteousness and
knight-errantry." Had he lived till
the Nazis came to power, his energy
could easily have been harnessed to
their cause.

But to the young Langhof, the
bright, ambitious medical student
embarking on a career as a
researcher, the posturing and
declamations of the Nazis are
ludicrous. ‘‘For me IHitlerl was
never more than a crude parody of
what he thought himself to be, a...
little hysteric who somehow
managed to vitalize the inert
mindlessness that surrounded him."

Langhof is also lar too clever to
be conned by the so-called medical
research in support of Aryan
supremacy. How then docs he
become involved in il?

Precisely by refusing to lake
seriously the buffoons and the
pseudo-scicncc of the New Order.
This he calls the "catastrophe of the
I" — an egocentric blindness to the
realities of the times and what they
portend. Driven by his own scien-
tific idealism, a more focused and
realizable version of his father's fan-
tasies, Langhof rides the wuve or the
New Order and the iucology of the
Final Solution, vainly believing that
his contempt for them free him
from responsibility. His dream of
cleansing the world of disease is
hideously mocked by the aim of the
Camp: to rid the world of “vermin,"
to make il Judenrein.

LANGHOF’S journal progresses by
a series of parallels, shifting bitek
and forth between the Camp and
The Republic. Neither place has a
precise geographical location; each
is u possible slate or humanity.

Yet the vivid descriptions of
naturc in The Republic — the
purgatorial heal, the teeming river
flowing past Lunghofs compound,
the habits of the Capuchin monkeys
who inhabit the trees just across the
river — root the story in the con-
crete world.

The rich imagery, drawn from the
narrator's experience, is u bridge
between his past and his present:
the river at night is “turbid ns spilled
blood," the sky is “bleached the
colour of living bone."

The repeated juxtapositions of
Langhof s two worlds cause them to
illuminate each other and, because
life in the tropical hell is portrayed
so graphically, only a few details are
needed lo make that other hell —
the Camp — come alive. The author
seems to have discovered, as he

n

THE HEBREW UMVERHTV
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Music Department
Invites the public to a lecture by

MAESTRO PAULSACHER

(Basel, Switzerland)

REMINISCENCES OF B^LA BARTOK

at 6.30 p.m., Tuesday, March 16. 1983,
at the Van Lear Jerusalem Foundation,

43 Jsbotlnsky St„ Jerusalem.

(Motke Kovarsky)

Min. of Health licence No. 537

Elimination of your

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makes Langhof discover, that the
mere accumulation of detail is not
the best way of portraying the hor-
ror of what one character calls "the
suicide of culture... ihe whole
journey of civilization when it pas-
se-, through its own rectum."

Dramatic juxtapositions also help
to deline diameters. Just as Hie
Republic and its dictator provide
ironic contrasts with the Third
Reich and its Fuhrer, so Dr. Ludiz
— a "Teutonic Falsluff" — is (he
perfect foil for his companion
Langhof.

Ludtz is everyone's quintessential
Nazi: only too willing to comply
with every ridiculous commnnd;
despicable und uncontrolled in
defeat; puranoid and grotesquely
fearful of death in old age. Though
he has returned to religion, he dies
unredeemed.

LANGHOF, however, Is saved by
his failure to tlnd God, by his in-
ability to make an easy peace with
himself and by his acceptance of the
challenge set by the Jew Ginzburg
to always think about the Camp.

Once in his life Langhof ex-
periences an epiphany. Fleeing the
burning Camp, dragging Ludtz
along with him, Langhof finds
himself in u field of snow, in a world
of pristine beauty. The scene is a
grotesque inversion of (he expulsion
from Eden.

Langhors revelation at this mo-
ment leads him “to the simple con-
viction that it is u moral respon-
sibility lo be wise." The implica-
tions of this insight are the heurt of
the book; all else is commentary.

The Orchids is an excellent novel
built because of and despite the fact
thut it deals with the Holocaust.
Through convincing characteriza-
tions and natural dialogue, and
without falling back on the rhetoric
of evil, the book confronts the
gravest ethical questions posed by
the Holocaust. At the some time it
transcends the historical event, by
presenting as universal and endur-
ing the human qualities that lead td
damnation and salvation. □

along

A GOOD MAN IN AFRICA by
William Boyd. Harmondsworlh,
Penguin Books. 312 pp. £2.50.

GOD AND MR. GOMEZ by Jack
Smith. New York, Franklin Watts.
21b pp. No price stated.

Michelle Cameron

MORGAN LEAFY, the anti-hero
of William Boyd's .■! Good Man in
Africa, typifies the foolish foreigner.
A British official serving in the
African country of Kinjtmju,
he manages lo do everything wrong.
Touted as an African expert, he
flubs every attempt to deal with the
natives. Trying to penetrate the psy-
che of a Kinjanjun politician, Leafy
finds himself involved in blackmail
and brihery. A failure ut everything
he touches, this anti-Midas keeps
floundering along in the best British
manner — a scathing criticism of
British officialdom abroad.

This is supposed to be a tremen-
dously funny book. It is certainly
sarcastic, und there's some excel-
lent slapstick, but our friend
Morgan Lcufy conics off looking
more foolish than funny. Old Leafy
isn't a bad sort, and to watch him
sink ever deeper in humiliation trou-
bles rather than li dilutes. William
Boyd ruthlessly implicates Leafy in
a variety of difficulties, without al-
lowing him or (lie reader any let-up.
Leafy's ineptness frustrates, and his
linnl decision disappoints. Wcll-
written, with excellent portraits of
the main characters, Boyd's novel
still lacks the satisfying (not neces-
sarily happy) conclusion that might
huve justified the book.

JACK SMITH also finds himself in
an environment whose values are
not his. In this autobiographical
story of how he and his wife built a
dream home in Mexico, Smith has
to icarn how lo suspend his

1

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Published hr German and French. This independent
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8ample copies and advertising rates available.

American tendency lo wnnt
everything down on paper, and to
accept a man’s world instead. Impel-
led by a new sense of adventure.
Smith and his wife purchase a lease
■ m some Mexican land, and hire
komulo Gomez lo build them a
house there. Gomez then takes
over, and builds not the house the
Smalts originally stipulated, but a
mansion which he feels suits the
land. Hie Smiths learn much about
the drawbacks of Mexican stan-
dards. The Mexican manana. or
tomorrow, stretches out the time for
building; instead of tile initial
promised three months, it takes u
year. Their American anxieties
sometimes disturb Mexican
serenity, but the Smiths learn to
take things as they come in true
Mexican style. And their reward
is a beautiful, well-constructed,
Mexiean-slylc mansion — a true
dream home. □

Thoroughbred novel

IN Hanker by Dick Francis
(Michael Joseph, £7.95), the master
story teller romps triune an easy win-
ner this time, effortlessly clearing
the fences of merchant bunking und
pharmacology. Tim Ekuterin per-
suades his eol leagues in the City to
invest in a stallion that will be the
making of a run-down stud farm.
Plot development is slow but reas-
suringly confident, not a bud
description, by (lie way, or EkaLerin
who is a refreshing change from
Francis's usual handicapped heroes.
And, unlike his previous 20 spell-
binders. this time the author has
pruduced what is first und foremost
a creditable novel. I wouldn't be the
least surprised to hear that the
thieves who nicked the Aga Khan's
Shergar from Co. Kildare’s Bal-
ly many Stud last month had found
Hanker to be both an inspiration and
a reliable guide. A. B.

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